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(But the civilized way to combat "PINK TOOTH BRUSH" is IPANA and MASSAGE) 

IN this picture, you see a girl chewing 
vigorously on a rib of beef. Viewed 
from the angle of good manners, it's 
pretty bad . . . And the debutante is 
right when she says, "It's simply savage !" 

But the dentist is right, too. And it 
needn't surprise you to hear any dentist 
say : "That's a good, common-sense dem- 
onstration of the healthy way to use teeth 
and gums." 

In modern dental circles, it is freely ad- 
mitted that the lack of coarse foods and 
vigorous chewing is largely responsible 
for a host of gum disorders. Naturally, 

gums grow sensitive on a soft food diet? 
Naturally, they grow flabby, weak and 
tender. And, naturally, that warning 
"tinge of pink" eventually appears upon 
your tooth brush. 

"Pink Tooth Brush" Tells the Truth 

And the truth is — your teeth and gums 
need better care. You should change to 
Ipana plus massage . . . You should be- 
gin, today, the double duty you must 
practice for complete oral health. So start 
now to massage your gums with Ipana 
every time you brush your teeth. Rub a 

Of ■ 

..;"<.; J 

little extra Ipana into your gums, on 
brush or fingertip — and do it regularly. 

For Ipana plus massage helps stimu- 
late circulation. It helps your gums win 
back their firmness. It helps them recover 
their strength and their resistance. They 
feel livelier, better, healthier. And healthy 
gums have little to fear from the really 
serious gum troubles — gingivitis, pyor- 
rhea and Vincent's disease. 

So be reasonable. For your smile's sake, 
for the sake of your good looks and your 
good health — begin today with Ipana 
plus massage. 

is Y ° Uf the home core 

^°r;^ ond 9 ums. 
of your teem ^^ 

Movie Classic for March, 1936 


*qmit wtetf {wU& mow 



300 rugged male voices led 
by Nelson Eddy in the most 
stirring song of our time! 



ME! ■ * 

The singing stars of "Naughty 
Marietta" now lift their golden 
voices to excite all the world with 
the immortal melodies of the most 
vibrant and stirring musical of our 
time — "Rose Marie" . . . The ro- 
mantic drama of a pampered 
pet of the opera and a rugged 
"Mountie" torn between love and 
duty, whose hearts met where 
mountains touched the sky. ..How 
you'll thrill with delight as they 
fill the air with your love songs — 
"Rose Marie, I Love You", and 
"Indian Love Call"! It's the first 
big musical hit of 1936— another 
triumph for the M-G-M studios 1 

Thrill to Jeanette 
MacDonald as she 
sings "The Waltz 
Song" from Romeo 
and Juliet, and 
with Nelson Eddy, 
the immortal duet 
"Indian Love Call" 


<-A Metro-Qoldwyn~Mayer Picture 


Directed by W. S. Van Dyke • Produced by Hunt Stromberg 


Movie Classic for March, 1936 


JAN 29 1935 

©C1B 288365 {J\n 




Managing Editor 

Speaking of March, Ginger Rogers is 
marching toward top rating as a box- 
office attraction. Along with Fred As- 
taire, she now is fourth. Incidentally, 
she talks about Fred in this issue 

MARCH, 1936 


VOL. 10 No. I 





My Ten Commandments for Personality . 

See Hollywood Yourself! 

At Last — a Five-Star Picture! 

(The Quints Are in It) 



Jeanette's Success Story Could Be Yours! 
Don't Misunderstand the Clark Gables! . 
This Is the Fred Astaire We Know . . . 
Paulette Goddard — Chaplin's Mystery Girl 
If Freddie Bartholomew Were King . . 

It's Time You Knew Margo! 

Why Those Powell-Loy Marriages 

Are Happy by 

Patient Is the Word for Helen Mack 
Leslie Howard Breaks the Rules . . . 
Una Merkel's Wardrobe Fits 

the Business Girl 

A Miracle Happened to Richard Dix 

by Cecil B. DeMille 
by Jack Smalley 


by Carol Craig 3 I 

Eric L. Ergenbright 

by John Kent 

by Ruth Biery 

by Marian Rhea 

. by Sonia Lee 

by Ida Zeitlin 

by Grant Jackson 

Wm. A. Ulman, Jr. 
by Grace McKenzie 
by William Anthony 

by Virginia Lane 
by Dorothy Calhoun 





Mary Pickford Offers $1,000 for Trademark Ideas! .... 6 

By Knitting Something New for Yourself 46 

Get Your Free Portrait of Norma Shearer as Juliet! .... 52 


Comfort, with Glamor 48 

Smart Simplicity 50 

Helen Vinson's Beauty Secrets by Alison Alden 54 

Fashions for Youth — with the Accent on "You" (Patterns) . . 56 

New Shopping Finds by the Shopping Scouts 62 

Handy Hints from Hollywood 75 


Let's Talk About Stars! — News and Gossip 10 

What Your Favorites Are Doing ... by Eric Ergenbright 14 

The Latest Reviews 20 

Looking Them Over by James E. Reid 26 

This Dramatic World— Portraits 27 

Your Own Ideas — Prize Letters 90 

Cover Portrait of Marion Davies painted by Charles Sheldon 





Vice President 

Published monthly by Motion Picture Publications, Inc., (a Minnesota 
Corporation) at Mount Morris, III. Executive and Editorial Offices, Para- 
mount Building, 1501 Broadway, New York City, N.Y. Hollywood editorial 
offices 7046 Hollywood Blvd., Hollywood, Calif. Entered as second-class 
matter April 1, 1935. at the Post Office at Mount Morris, III., under the act of 
March 3, 1879. Additional entry at Greenwich, Conn. _ Copyright 1936. 
Reprinting in whole or in part forbidden except by permission of the pub- 
lishers, title registered in U.S. Patent Office. Printed in U.S.A. s 

manuscripts to New York Editorial Offices. Not responsible for lost manu- 
scripts or photos. Price 10c per copy, subscription price $1.00 per year in 
the United States and Possessions. Advertising forms close the 20th of the 
third month preceding date of issue. Advertising offices: New York, 1501 
Broadway; Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Rcilly, 
1014 Russ Bldg.; Los Angeles, Simpson-Reilly, 536 S. Hill St. General 
business offices, Fawcett Bldg., Greenwich, Conn. 


"My complexion 
cleared up 
like Magic!" 

*■■''■ ':■ , 


A dull skin, blotches, and bad breath — these 
may be warnings of constipation — accumu- 
lated poisons in your system. When you 
notice such telltale signs, do as millions 
of others do — place your confidence in 
FEEN-A-MINT and the "three-minute 
way." The "three-minute way" means that 
you simply chew delicious FEEN-A-MINT 
for three minutes,* preferably while going 
to bed — and in the morning you will find 
gentle but thorough relief. The very act of 
chewing makes FEEN-A-MINT better. Its 
tasteless, medicinal content mixes thor- 
oughly with saliva and goes to work easily, 
gradually — not all at once. No unpleasant 
after-effects. And the children love it for 
its clean, refreshing taste. Get a box for 
the whole family, 15 cents and 25 cents — 
slightly higher in Canada. 

* Longer, if you care to 

JeSS / producer 
famed Y 


Mary Pickford Offers 

$1,000 for trademark ideas! 

Put on your thinking cap — and win a 
fortune! Suggest a symbol to identify 
the new Pickford-Lasky Productions! 

ONE thousand dollars in prizes for a 
trademark idea! That's the offer of 
the newly organized Pickford-Lasky 
Productions, in cooperation with Movie 
Classic and the Fawcett Motion Picture 
Group of magazines ! 

Seeking a trademark that is distinctive 
and unusual, Mary Pickford and Jesse 
Lasky offer you the glory of creating a 
major studio trademark and winning a grand 
prize of $500 ! In addition, they will award 
five $100 prizes to the winners of individual 
contests appearing in Movie Classic and 
four other Fawcett film magazines. From 
this group of five, the $500 winner will be 

You can enter the contest right now. 
Merely send in a clear description of your 
trademark idea. A drawing may or may 
not accompany the description. All you 
have to do is to get the idea across ! Fancy 
embellishments or professional drawings 
will NOT influence the judges! 

"The importance of trademarks in adver- 
tising products cannot be over-estimated," 
says Miss Pickford in discussing the deci- 
sion to launch the contest. "Intelligently 
created trademarks become so definitely as- 
sociated with some products that often 
the buyer seeks the trademark rather than 
the name of the product. Mr. Lasky and 
I have prepared an ambitious film produc- 
tion program. Naturally, we anticipate bet- 
ter-than-average pictures, and it is neces- 
sary that we have a better-than-average 

The history of motion picture trade- 
marks that have become world-famous of- 
fers good tips in thinking of one for the 
Pickford-Lasky Productions. Nearly every 
good trademark was born of sudden inspi- 

Movie Classic for March, 1936 

ration. Perhaps you will be the one who 
puts down a fleeting idea on paper, an idea 
so good that it will become the trademark 
of Pickford-Lasky Productions. 

One of the newest trademarks on the 
screen is that of RKO-Radio Pictures. You 
have seen it many times — a jagged flash of 
lightning searing through a black triangle 
surmounted by the name, Radio Pictures. 
The design came from one of RKO's staff 
of artists after the group had been told to 
find something that could have only one 
association — and that with Radio Pictures. 

The trademark of Paramount Pictures 
is an outstanding example of a brain-child 
that grew to maturity. W. W. Hodkinson, 
one of Paramount's driving forces even in 
its early days, was born in Colorado. Think- 
ing of the inspiring mountains of his native 
state one day, he sketched the picture of 
a mountain peak on a desk blotter and 
placed the name Paramount over it. That 
was the humble beginning of a world- 
famous trademark ! 

PERHAPS some inspiration flashing 
through your mind is destined to take 
its place .on the screen ! You never had a 
better opportunity to get one of your ideas 
used by films ! 

20th Century-Fox Studios wanted a 
trademark with a modern connotation. Put- 
ting their heads together, producers Darryl 
Zanuck and Joseph Schenck evolved the 
idea of 20th Century in huge lettering with 
an array of spotlights playing across the 
design. When the 20th Century-Fox merg- 
er occurred, Fox became the foundation 
of the design. 

Harry Cohn, [Continued on page 61] 

• MARLENE DIETRICH, more alluring than 
ever, GARY COOPER, more casually 
exciting than ever, in their first picture 
together since Morocco . * . a yarn about a 
beautiful lady with a very bad habit of 

I stealing very expensive jewels and a 

| young American motor car engineer who 

/ steals the lady's heart. 

Just an old European custom . . . but Marlene seems to be .going in for This ought to be in color, for those 
we'd like to bejohn Halliday, the gen- jewels in a big way ... also note the star like spots in the crisp black 
tleman who's doing the hand kissing. pom-pom hat. It'll set a style. taffeta jacket are a really ravishing 

shade of pink. 

...A Paramount Picture 
Directed by Frank Borzage 
Jrom a comedy by Hans 
Szekely and R. A.Stemmle. 

This shot is from the picture. Gary 
apparently has said something pretty 
tough, for that's a real handkerchief 
and those are real tears. 

Marlene shows she's still loyal to the 
beret, this time, a novel black antelope 
affair, designed by Travis Bantoo 
Paramount's Fashion Expert. 

Frank Borzage talks over a scene from 
"Desire" with Marlene and Gary. 


Movie Classic for March. 1936 





sensational new success 

The story of Pasteur's historic battle with the ruthless 
killers of an unseen world has roused the experts of the 
film trade press to a very uncharacteristic frenzy of praise 

Moving performances by Josephin-c Hutchinson, Anita 
Louise, Donald Woods, Fritz Leiber, and many others, have 
been a vital factor in the salvos of applause for "Pasteur" 

throws the spotlight on some important 
personalities you never knew till now. 

WHAT is it that even the most conscientious film 
fan never hears about— yet is as well known and 
important in "picture business" as famous stars, 
directors, or producers ? 

Answer— a movie "trade paper" publisher. 

If you were in the movie business the publications pre- 
sided over by these gentry would be as familiar to you as 
your daily newspaper. Their reviews of new pictures are 
the first impartial comments published anywhere and usu- 
ally have an important influence in determining at what 
theatres a production will be shown and for how long. 

Being steeped in picture affairs to the eyebrows, these 
"inside" reviewers never hesitate to call a spade a spade 
and a flop a flop. Praise is the exception rather than the 
rule and it's rare indeed for the boys to agree unanimously 
in favor of any one production. 

So you can understand why the film industry practically 
in toto sat up with a jerk one recent morning when they 
picked up paper after paper and found every one of them 
not only praising, but gushing like schoolgirls about the 
same picture— Paul Muni in The Story of Louis Pasteur. 

FOR instance, they found seasoned, cynical Jack Ali- 
coate's Film Daily notifying the world that "The Story 
of Louis Pasteur is distinguished and gripping drama that 
blazes a new trail in pictures. Warner Bros have fashioned 
a story that grips from the start. Muni's performance is 
something to cheer about William Dieterle's direction de- 
serves lavish praise." 

Veteran publisher Martin Quigley's Motion Picture 

Movie Classic for March, 1936 



Magnificently Mum re-creates the 
famous hero of humanity who fought 
a jeering world that we wight live 


way through. 

Herald simultaneously informed the 
industry that "in The Story of Louis 
Pasteur the screen makes a great de- 
parture from prosaic formula There 

is not a single trace of theatrical artifi- 
ciality. . . . Expertly acted and directed, 
. . its power to create and hold interest 
immediately, gripped the preview audi- 
ence and kept it in hushed silence all the 
. . Here is a picture the worth of which 
is almost certain to impress both class and mass alike." 
At the same moment Motion Picture Daily under 
the editorship of peppery, astute Maur- 
ice Kann was broadcasting the news 
that "the theme of The Story of Louis 
Pasteur is so absorbing that the film is 
sure to win terrific word-of-mouth en- 

The daily edition of youthful, ag- 
gressive Sid Silverman's famous Vari- 
ety chimed in with the unqualified 
statement that "in The Story of Louis Pasteur Warner 
Bros, have made a truly great picture. . It stands 
among the significant works of the screen . . . Told in 
such fashion as to grip every audience 
it will reach, The Story of Louis Pas- 
teur is headed for big acclaim. Pro- 
foundly stirring as sheer drama, it will 
widen the range of picture venturings. 
. . . Muni is superb. . . . Seldom has a 
picture preview shown so strongly- 
shared interest of men and women. 
Men were openly in tears of emotional 
response throughout the audience." 

And dynamic, hard-hitting "Chick" Lewis of the 
Showmen's Trade Review informed his followers 

that this outstanding hit will send pa- 
trons away talking A powerful pro- 
duction, impressive entertainment and 
a stand-out characterization by Paul 
Mum make this a prestige picture of 
importance with world-wide appeal " 

THESE are strong words, dear 
listeners. But we subscribe to 
every one of them ! And we've reprinted them here 
as the most impressive tip-ofT we can give you on the 
extraordinary importance of this brilliant Cosmopoli- 
tan production. 

Naturally it's been the talk of film circles ever since 
these remarkable reviews appeared. And xou're going 
to hear a lot more about it before it's released by First 
National late this month. 

Movie Classic for March, 1936 






Popular male 
Star gives his 
reasons for 
choosing the 
Tangee Girl 

• We presented gary cooper, star of 'Deiii 

three lovely girls a Paramount Picture, picks the 
to Gary Cooper, most kissable lips in lipstick test. 

One wore the ordinary lipstick . . . one, no lip- 
stick . . . the third, Tangee. 

"Her lips look kissable," he said, choosing 
the Tangee girl, "because they look natural." 

And other men agree. They don't like to kiss 
lipstick either, and that's why Tangee is so much 
in vogue today. Tangee makes your lips glow 
with natural color, but it avoids "that painted 
look," because Tangee isn't paint. If you prefer 
more color for evening, use Tangee Theatrical. 
Try Tangee. In two sizes, 39c and $1.10. Or, for 
a quick trial, send 10c for the special 4-Piece 
Miracle Make-Up Set offered below. 

• BEWARE OF SUBSTITUTES . . . when you buy. 
Don't let some sharp sales person switch you to an imi- 
tation . . . there's only one Tangee. 


417 Fifth Avenue, New York City 
Rush Miracle Make-Up Set of miniature Tangee 
Lipstick, RougeCompact.CremeRouge.FacePow- 
der. I enclose 10<! (stamps or coin). 15< in Canada. 

□ Flesh □ Rachel □ Light Rachel 




Lets Talk 

"Forget the diet! This is my party!" 

Dick Powell seems to be telling 

Joan Blondell, cutting another slice 

of birthday cake. It's romance! 

THE way Hollywood is "riding" Joan 
Crawford over her new liking for pri- 
vacy ("sudden snootiness," Hollywood 
calls it) is a caution. Joan has always been 
swell to the press and public. Recently, 
feeling that at least some of her life was 
her own, she tempered a bit of her previous 
excess cordiality. Forthwith she was vigor- 
ously jumped upon — most viciously by wom- 
en writers who had previously basked 
proudly in her reflected glamor. With her 
usual serenity, Joan publicly ignores the 
cutting thrusts — but knowing her as we do, 
we aren't a bit fooled ; we know she feels 
them deeply. But why should she worry 
— as long as her real friends, you fans your- 
selves, stand by? . . . Her marriage to Fran- 
chot Tone, naturally, is a new experience 
in real happiness. The honeymoon has 
switched to the set of Exclusive Story, on 
which Franchot is working with one of 
Joan's best friends, Madge Evans. . . . 
Speaking of Franchot, he has a new con- 
ditioning secret — two singing lessons a 
day. Since he started, a few weeks ago, 
he has gained five pounds, added an inch 
chest expansion. 

Even though John ("Caliban") Barry- 
more has allegedly turned woman-hater 
since Dolores Costello bounced him and 
Elaine Barrie jounced him, the reverse is 
certainly not true of Dolores. Since shed- 
ding the Barrymore name and returning to 
films (in Little Lord Fauntleroy) she has 
reblossomed into one of Hollywood's most 
popular girls, and is seen repeatedly at night 
clubs and other danceries. As yet, no one 
man seems to be her favored companion. 

• When Nelson Eddy sang in concert in 
Los Angeles recently, they even had to fill 
the stage with chairs to accommodate all 
comers. And yet they say something about 

Here's Hollywood 

Romance! Comedy! 

Drama! LIFE! 

a prophet without honor in his own terri- 
tory, etc. ! . . . The other day at a party, 
Nelson had a cold. He couldn't sing, but 
wowed the gathering by doing a fast tap- 
dance routine with Ginger Rogers as his 
partner. And that was the first time that 
Hollywood knew that the erudite and dig- 
nified Mr. Eddy was a hoofer, too ! . . . 

Pat O'Brien has a deal with his wife. 
When he comes home late (or early in the 
morning), he has to buy wifie a gift in 
relation to the lateness of the hour. So 
the other night Pat went out with some 
of the boys — and didn't get home until so 
late that nozv Mrs.- O'Brien is driving a 
nice, new car! 

• Danny Cupidities of Filmland : It will 
be midsummer before Myrna Loy can mar- 
ry producer Arthur Hornblow, because it 
will be that long before the current Mrs. 
H. is "ex" . . . Even though Barbara Stan- 
wyck says she is through, through 
THROUGH with him, Frank Fay insists 
on serenading her under her windows o' 
nights ! . . . Are Pasquale di Cicco (ex-hus- 
band of the late Thelma Todd) and Mar- 
garet Lindsay secretly married, as Holly- 
wood knowitalls insist? . . . David Niven 
has moved next door to Merle Oberon, 
and if she will only listen to his elope- 

Plioto by Rhodes, Classic Photographer 

When you see Fred Astaire and 
Randolph Scott as buddies in Fol- 
low the Fleet, don't think they're 
just acting. They aren't. Here is 
off-screen evidence they're pals. 


Movie Classic for March, 1936 

about Stars! 

ment plans they'll soon be sharing the same 
house . . . Not only is Cecilia Parker on 
Noah Beery, Jr.'s pitter-patter list, but so 
is Buck Jones' daughter, Maxine, who re- 
cently went around the world because her 
mama wanted her to wait before eloping 
with young Noah . . . Ah, these honey- 
mooners ! Bennett Cerf has just presented 
his bride (Sylvia Sidney, to you) with a 
brand-new canary-yellow coupe . . . 

Lyle Talbot's new girl-friend is Eleanor 
Troy — and he hardly over his heart-break 
about Peggy Watters' becoming Mrs. D. 
Howell ! ... The Patricia Ellis-Henry Will- 
son romance is on again . . . One night, 
Jackie Coogan and Betty Grable finally 
announced their engagement ; and the next, 
they were off on a personal appearance 
tour across the country . . . Betty Burgess 
is a smart girl, because for her boy-friend 
she has picked Ray Cato, who's boss of 
all of California's motor cops . . . The 
Sultan of Johore sent jewels to Jeanette 
MacDonald, whom he met on his recent 
Hollywood visit, but Jeanette couldn't be 
excited, what with Bob Ritchie and Gene 
Raymond claiming her attention . . . Henry 
Fonda and Shirley Ross are eye-gazing 
again . . . and Dorothy Lee is positively 
FUrious at those who say she's gonna 
make up with ex-hubby Marshall Duflield 
. . . Just to set the record straight, it's Anne 
Shirley and Johnny Downs, and Steffi 
Duna and Johnny Carroll . . . And is Janet 
Gaynor freezing out Al Scott? Because 
she has been here, there and everywhere 
with a rich young business man named 
Harold Anderson ! . . . 

Jan Kiepura zvas to stand in the zvatcr 
and sing in one scene of Give Us This 
Night. For days he had been followed by 
an attendant ivith throat sprays, gargles 
and other cold-preventives, so when they 

Oh, to be in Palm Springs, now 
that winter's here! Una Merkel and 
Madge Evans, who both have sunny 
dispositions, are keeping them by 
vacationing at the desert resort 

told him to stand in water and sing, he 
blew right straight up into the stratosphere. 
But — the funniest part is that it didn't 
hurt a bit, because singing warms up the 
blood, and so Jan didn't catch pee-new- 
monia, as he zuas sure he would. 

• Al Jolson recently counted up his shek- 
els and discovered that since he began his 
public career in 1902, he has taken in a 
total of $15,000,000! And if that isn't rea- 
son for yellin' MAMMY? . . . His top week 
was in 1929, when he received $23,000. He 
lost seven millions in the 1929 panic. Al 
has just taken on a new job — producing. 
Three Men on a Horse, starring Joe E. 
Brown, will be the first film he produces. 
The most fun of all to Jolson is hoss-race 
betting (which the hilarious comedy is 
about). That's why funny story No. 1 in 
Hollywood at the moment concerns Al. 
Going on location, he left word at home 
not to bother him with any wires save 
life or death matters. When he reached 
home that night, he found a wire they 
hadn't bothered him about. It was from 
his betting agent, telling him to bet on a 
horse that later won, 19 to 1. And Al. 
unbothered, hadn't put a penny on the nag, 
of course ... Laugh : Al and Ruby chew 
gum in unison when they watch the Holly- 
wood fights. 

Did You Know That Ginger Rogers has 
gone blonde? Yep. the red hair is gone, and 
Ginger is copper-gold tune. Maybe to 
match what her mother just did to Ginger's 
baby shoes. (She had them gold-plated. 
to last forever.) And Ginger is golden at 
the box-office, too. as the 1935 compilations 
prove. Honor-of-the-month for Ginger 
was being appointed Honorary Admiral of 
the Texas Navy by Texas' Governor All- 
red. And if that's not going Kentucky- 
Colonelcy one better, zAiat is it.' 

• Director John Ford is so nervous that 
he chews up about three dozen handker- 
chiefs per picture. He's on his third dozen 
on 20th Century-Fox's Prisoner of Shark 
Island now ! . . . When Lona Andre divorced 
Edward Norris, she said he had misrepre- 
sented himself as successful and rich. Now 
that he's free, he's making a hit in movies. 
and Lona's complaint would not hold today ! 
. . . Stepin Fetchit, so the legend runs, gets 
so tired taking bows at his personal appear- 
ances, that he hires a stooge to take his bows 
for him ! . . . Betty Compson, who began 
her career as a violin player in San Fran- 
cisco, is playing the violin again in a San 
Francisco cafe, as this is written . . . Be- 
cause Gregory Ratoff had to lose thirty 
pounds in thirty days for a picture, he went 
on a nothing-but-buttermilk diet until he 
mooed sour ! . . . Wham ! goes another illu- 
sion: Boris Karloff's favorite dish is corned 
beef-and-cabbage . . . The Alan Dineharts 
have two dogs : they've named 'em Musso- 
lini and Selassie . . . Virginia Bruce has 
bobbed her hair at last. That's news! 

Director Ernest Schoedsack. experiment- 
ing with Technicolor, predicts that color 
films will mean the end of platinum blondes, 
because they can't be color-photographed 
zvell. Maybe Jean Harlozv knew that all 
the time! 

It's always suntan weather in Hol- 
lywood! Anita Louise and Do- 
lores Del Rio — blonde and bru- 
nette — do a little relaxing in 
shorts between tennis games 

• Ordered to stay thin, Patricia Ellis has 
taken to roller skating and tap dancing 
... A fast-struck ball in a squash game hit 
George O'Brien's eye and for three days 
physicians could not tell whether he would 
lose the sight of the eye or not ; George 
barely escaped blindness ! . . . Leland Hay- 
ward loves Katharine Hepburn I Mrs. Hay- 
ward ? ) so much that when he had to be 
operated on, he and Katie made a special 
trip all the way to Hartford, Conn., so 
that Katie's dad, Dr. Thomas N. Hepburn, 
could perform the operation — and Katie 
stayed right at the bedside ! . . . Ann Sothern 
has a horror of being locked in small 
rooms. So has Norma Shearer. The psy- 
chiatrists call the phobia claustrophobia — 
a fear of closed places . . . Sally Eilers has 
just bought the late Lew Cody's Spanish- 
style house and has transformed it, like 
that, into a French-type farmhouse . . . The 
same day Ida Lupino bought a new car, 
she parked it on a hill without the brake 
on, and now it's between Ida and the insur- 
ance company. . . 

In Colleen, Jack Oakie wears the same 
pair of shoes he wore when he hoofed the 
Boulevard nine years ago, looking for a 
job . . . the late John Gilbert (his sudden 
death shocked filmland) is reported to 
have cleaned up on shrewd market oper- 
ations during the past few months ; anyway, 
he had taken a house in Palm Springs, 
thinking Lady Luck had smiled on him. 
for a change ! . . . Don't worry, Grace 
Moore fans — her tonsillectomy came out 
all right and so did the darling li'l tonsils 
... So excited were Errol Flynn and the 
Mrs., (Lili Damita, y'know) when they 
started on their [Continued on page 58] 



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Winx Mascara 
which gives you 



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tion lasts until bed-time. 

Millions of women prefer Winx to ordi- 
nar\ r mascara. New friends are adopting 
Winx every day. Without delay, you, too, J 
should learn the easy art of having lustrous 
lashes. Just go to any toilet counter and buy 
Winx. Darken your lashes— note the instant 

Winx is presented in two convenient forms 
—the ever-popular Cake (in a box) and the 
new Creamy (in a tube). Each includes my 
perfected formula. They differ only in form. 
Each form has its enthusiasts— hence I offer 
both. They are for sale at all 10c counters.* 


The greatest star- 
maker of them all 
— who is planning 
another great film 
spectacle, "Sam- 
son and Delilah" 
— says: "If you 
want to be out- 
standing, don'ttry 
to be beautiful!" 



for Personality 


4<or cCcru^i/ij £/i| 


| -k If you are net near a 10c store, you may 

I order direct from Ross Company, 243 West 
17th Street, New York City, by sending 10c, 
■ checking whether you wish □ Creamy fj Cake 
□ Black □ Brown □ Blue. 

i Name 






By Cecil B. De Mille 

As told to Helen Harrison 

IF YOU want to be a truly out- 
standing personality, don't try to 
be beautiful! That is the first 
and foremost of my Ten Command- 
ments for personality. 

I do not always choose beautiful 
women for the leading roles in my 
film spectacles. I may create an il- 
lusion of beauty, but it is achieved, 
mainly, by developing personality 
highly. Of course, there must be cer- 
tain physical foundations on which 
to build such illusions. A woman 
must have fine bone structure, trim 
ankles, slender shoulders and neck 
and arms. But I never demand a 
beautiful face — because sometimes it 
is an actual hindrance ! 
. There are stars in the Hollywood 
heavens — and there have been mete- 
Movie Classic for March, 1936 

ors, which flashed across the sky, then 
quickly faded. Without exception, 
these meteors have been almost per- 
fect beauties who lacked the warm 
glow of personality — which is an- 
other word for glamor — and who 
were as fascinating as a marble statue 
and as alive ! 

The illusion of beauty is best 
achieved by developing personality to 
the utmost. Yet I have never changed 
a personality, and never will. This 
should be the Second Commandment : 
Don't change your personality! 

As perhaps the most outstanding 
example of what personality develop- 
ment can do, there is the case of 
Gloria Swanson, who first starred un- 
der my direction. She had dynamic 
emotion and remarkable potentialities. 
She was not a real beauty, but her 
glamorous personality enveloped ev- 
erything about her and created a last- 
ing illusion of physical perfection. 

For my latest film. The Crusades, 
I did not [Continued on page 76] 



This interesting, informative stiff 
cover bound booklet will be sent to 
you upon receipt of 4c in stamps to 
cover postage. 

AND wny shouldn t she be . . . for she holds romance in her hands 
— hands that reflect the perfection of her ijroominj and the fastidi- 
ousness of her nature. For hands do express things that mere words 
cannot say. It you would be irresistible (yes, hands call be irresistible) 
with graceful, tapering, satin-smooth nails, then use PLAT-NUM, 
the favorite nail polish of millions of lovely women, vv nether you 
prefer a creme or transparent polish, you may choose from 12 different 
true-tone shades, any one of which will blend with gown, complexion, 
lipstick or rouge. PL-AT-A Ui^l is really a superior polish. It goes 
on smoothly, sets evenly and has a lasting Quality. It conceals nail 
imperfections and does not crack, chip, peel or discolor. Oives to 
your nails a solt, shimmering, shell-like surface. Try a generous, over- 
size 10c bottle of your own particular shade today. PLAT-A U^l 
is on sale at any 5 and lO cent store. See the newest shades. 


Movie Classic for March. 1936 



They're unprintable! The things that 
happen to your system when you take 
a harsh, quick-acting cathartic. Good 
taste forbids a detailed description _J 

You ought to know ... for your 
health's sake . . . what happens when 
you introduce a harsh, drastic laxative 
into your system. One that works too 
quickly. One that upsets you . . . that 
rushes unassimilated food through your 
system . . . that rips and tears its way, 
leaving you weak, dragged down — in- 
ternally abused. But, we cannot tell you 
the graphic details here because they are 
too graphic. This is a family magazine, 
not a medical textbook. 

This much we can say: whenever you 
need a laxative, be sure the one you take 
is correctly timed. Be sure it is mild and 
gentle. Ex-Lax meets these important 

Avoid quick-acting cathartics ! 

Ex-Lax takes from 6 to 8 hours to ac- 
complish its purpose. It relieves constipa- 
tion without violence, yet it is completely 
effective. Elimination is thorough. And 
so close to normal you hardly know 
you've taken a laxative. 

Because of its gentle action, Ex-Lax 
doesn't leave you weak, as harsh cathar- 
tics do. It doesn't cause stomach pains. 
It doesn't nauseate you. And you don't 
need to fear any embarrassment after- 
wards. It is best to take Ex-Lax at night, 
when you go to bed. In the morning you 
will enjoy complete and thorough relief. 

A joy to take! 

Another thing people like about Ex-Lax 
is the fact that it is equally good for 
children and adults. Thus, you need only 
one laxative in your medicine chest. 

And here is still another pleasant thing 
about Ex-Lax ... it tastes just like de- 
licious chocolate. Don't ever again offend 
your palate with some bitter, nasty-tasting 

Get a box of Ex-Lax today. It costs 
only 10c. There is a big, convenient 
family size at 25c, too. 

GUARD AGAINST COLDS! .. .Remember these 
common-sense rules for fighting colds — get 
enough sleep, eat sensibly, dress warmly, avoid 
drafts, keep your feet dry, and keep regular, 
with Ex-Lax, the delicious chocolated laxative. 

When Nature forgets— remember 




(Paste this on a penny postcard) F.G.36 
Ex-Las, Inc., P. 0. Bos 170 
Times-Plaza Station, Brooklyn, N. T. 

I want to try Ex-Lax. Please send free sample. 

Xame . 



(If you live in Canada, write Ex-Lax. Ltd.. 
736 Notre Dame St. W.. Montreal) 

Tune in on "Strange as it Seems, "new Ex-Lax Radio 
Program. See local newspaper for station and time. 


_: ..--r V 


,!L ^' 

s ~~ 



L _ ii.iirrTj^ 


WW"*\ * 



Here you are looking in on a scene being filmed for one of the year's big- 
gest pictures — Anthony Adverse — with Fredric March as Anthony, and Olivia 
de Havilland as Angela. At the right is Director Mervyn Le Roy and the 
cameraman. Study this picture for a moment, then turn to page 68 and see if 
you can pass the observation test there without referring back to the picture! 

What Your Favorites 
Are Doing-Now! 

By Eric L. Ergenbright 

Hollywood Editor of MO J' IE CLASSIC 

Do you want to know what's doing in 
the studios — what pictures and what stars 
you will soon be seeing on the screens of 
your local theatres? If so, then come 
with MOVIE CLASSIC— each month— 
"behind the scenes" of Hollywood. — 

• "The bigger the picture, the bigger the 
attendance" isn't always true. But it 
has been true often enough of late to give 
every studio big-picture ambitions. And 
'way up at the head of the producing parade 
are Warner Brothers-First National, with 
A Midsummer Night's Dream and Captain 
Blood behind them, and Anthony Adverse 
ahead — not to mention The Green Pastures. 
Fredric March, who had some of the 
biggest roles of 1935, has walked off with 
the prize role of 1936 to date — the title 
role of Anthony Adverse. As the moody, 
adventurous hero of Hervey Allen's mod- 
ern classic, he has a part far different from 
anything he has recently played and leads 
a varied screen love-life. Gale Sondergaard, 
as Faith, whose name is ironic ; Olivia de 
Havilland, as his boyhood sweetheart whom 
he meets and loves in later life; and Steffi 
Duna, as the half-caste Neleta, who is 
passionately jealous of him, are vying to 
outshine each other in their emotional op- 
portunities — and their opportunities are 
opportunities. The picture is an actors' 
and actresses' dream of drama. Every role 

has color. March's part is monumental, 
calling for constant verve and a sustained 
mood, day after day, week after week, 
month after month. At this writing, the 
picture is nowhere near the finishing point. 

Warners are about to offer you a new- 
dancing hero — one hailed as the equal of 
Fred Astaire. His name is Paul Draper and 
he was imported from the New York stage 
to share top billing with Ruby Keeler, Dick 
Powell, Joan Blondell (Dick's new off- 
screen interest) and Jack Oakie in Colleen. 

Bette Davis is busily at work on Men 
on Her Mind with Warren William. Al 
Jolson is turning in a great performance 
in The Singing Kid. A big surprise is in 
store for you when you see Boris Karloff 
in The Walking Dead — in which he wears 
no horrific make-up and has a tense drama, 
not a horror story, to work with. When 
Joan Blondell isn't busy on Colleen, she is 
working on Snozved Under with George 
Brent and Patricia Ellis — a picture which, 
despite its title, looks to be of the warmish 
variety. Anita Louise is playing a title 
role in Every Girl for Herself, with Gene 
Raymond and Ross Alexander making a 
triangle situation. 

9 AT Twentieth Century-Fox, Shirley 
Temple has just finished what looks like 
her best picture yet — Captain January — 
and is enjoying a vacation. Guy Kibbee, 
[Continued on page 16] 


Movie Classic for March, 1936 


of your hair with a DUART wave 

(jh s tjtollyicood s choice - it can be yours, too! 

When you see a beautiful permanent wave on the screen, don't envy 
it — copy it! Simply follow the advice you would get from any Holly- 
wood star. Ask for — and insist that you get — a genuine Duart Wave. 
It is easy to he certain. Duart waving pads come in individual 
SEALED packages. One for each patron. Your permanent waver 
will let you hreah the seal yourself. Then you II know the pads are 
fresh, clean, never used on another person s hair. You 11 know that 
your wave is to he a genuine Duart — the choice of the Hollywood 
stars. The same snug little curls, and soft lustrous waves, that every- 
one admires on the screen, ■will adorn your own pretty head. 

Xo copy a screen star's hairstyle, send for the FREE BOOKLET 
showing the Hollywood stars' newest spring coiffures. Sent free with 
a full size, two rinse package of Duart's Hollywood Hair Rinse. It 
adds attractive glint and sparkle. Choose from 12 lovely tints. Not 
a dye. Send 10 cents to cover cost of wrapping and mailing. 


Movie Classic for March, 1936 



DUART, 984 Folsom Street, San Francisco, California. 
Enclosed find 10c; send me shade of rinse marked and 
copy of your booklet, "Smart New Coiffures." 

□ Dark □ Henna □ Ash □ White or 
Brown □ Golden Blonde Gray 

D %%T DTit°iIn a DMMi"- <"•*»•») 

□ Titian Reddish Brown Q Light 
Reddish Blonde □ Golden Golden 
Brown □ Black Blonde Blonde 



City State 


Don't hesitate . . . always 
choose the lamps that 
stay brighter longer... 
You'll know them by 
this mark 

It is a scientific fact that lamps marked with 
the (^) monogram stay brighter longer than 
so-called "cheap" lamps. 480 checks and in- 
spections in manufacture guard against the 
i mperfections found in poor lamps — imper- 
fections resulting in dollars being wasted for 
current which is not converted into light. 

(jeneral Electric's research and development 
have resulted in lamps of greatly improved 
efficiency and lower price. Edison MAZDA 
lamps now cost as little as 15c — only 20c 
for the popular 100-watt size. For good light 
at low cost — for sight-saving light — always 
ask for these good lamps by name. 



What Your Favorites Are Doing — Now! 

[Continued from page 14] 

adorned with a ruff of chin whiskers, is 
the lighthouse keeper and Shirley is the 
ray of sunshine in his lonely existence. As 
usual, she will sing and dance — but one of 
her dance numbers tops any of her previous 
efforts. In it, she taps down a long circu- 
lar staircase (it reaches from floor to ceil- 
ing of the huge sound stage) and with each 
step she recites her multiplication tables. 
Also present, disguised as a fisherman, is 
Buddy Ebsen, whose eccentric dancing in 
Broadway Melody of 1936 made such a 
hit. And you will get a "kick" out of 
Shirley's freckled boy-friend, Jerry Tucker. 

A Message to Garcia, co-starring Wal- 
lace Beery, John Boles and Barbara Stan- 
wyck, is a red-blooded drama with a Spau- 
ish-American War background. 

Another big 20th Century-Fox picture 
in production is The Prisoner of Shark 
Island, which tells the dramatic and true 
story of Dr. Mudd. the tragically misun- 
derstood man who sheltered John Wilkes 
Booth after Lincoln's assassination. In 
the title role is Warner Baxter. Opposite 
him is Gloria Stuart, 

George Raft, on loan from Paramount, 
is completing It Had to Happen, in which 
he sheds the "sinister" aura that has sur- 
rounded him, and has amusing misadven- 
tures with Leo Carrillo, not to mention 
Rosalind Russell. Paul Kelly, who has 
been making one of the greatest comebacks 
in film history, is on the verge of stardom 
in Black Gang, an unusual and interesting 
story — with the title role of Song and 
Dance Man his next. Irvin S. Cobb, the 
humorist, who proved himself an actor with 
his performance alongside the late Will 
Rogers in Steamboat 'Round the Bend, is 
now starring in Everybody's Old Man, with 
Rochelle Hudson as his leading lady. 

• At Paramount, three "super" produc- 
tions — Mae West's new chuckle-fest, Klon- 
dike Lou, the new Gary Cooper-Marlene 
Dietrich picture, Desire, and the ambitious 
musical, Give Us This Night, starring 
Gladys Swarthout and Jan Kiepura — have 

just been finished. And The Trail of the 
Lonesome Pine is nearing completion. This 
picture, which has Sylvia Sidney, Fred 
MacMurray, Henry Fonda and Fred Stone 
in the four principal roles, is the first big 
dramatic picture to be filmed in color out- 
doors. And if the color and the drama both 
are good, watch for a succession of big 
color pictures ! 

Just starting is a murder mystery titled 
Preview, which has a movie studio locale, 
a cast that includes Gail Patrick, Regi- 
nald Denny, Rod La Rocque, Ian Keith and 
Conway Tearle. 

• And now to the Radio Pictures Studio, 
where Fred Astaire and Ginger Rogers 
have just made the final scenes for follow 
the Fleet and Ann Harding and Herbert 
Marshall have just been co-starring in The 
Lady Consents. Anent Follozv the Fleet, 
jot down this very interesting note : Harriet 
Hilliard, the radio favorite who will make 
her screen debut as Ginger's sister, proved 
so outstanding in the few scenes originally 
allotted to her that her role has been built 
to major importance. 

The Lady Consents is another of those 
sophisticated, sparkling comedy-dramas 
with which both Ann Harding and Herbert 
Marshall always have been identified. 

On the same lot, Bert Wheeler and Rob- 
ert Woolsey have just started a burlesque 
entitled The Wild West. Their fans will 
learn with regret that it may be their last 
movie for some time, as their contract is 
expiring and they plan a lengthy personal 
appearance tour. Also just starting is 
Katharine Hepburn's first historical pic- 
ture, Mary of Scotland. 

• At Columbia, the biggest little studio 
in Hollywood, three noteworthy produc- 
tions are just starting. Grace Moore is 
making her third picture for Columbia — 
Cissy, from a Viennese operetta of the 
same name, in which Michael Bartlett is 
[Continued on page 60] 

Photo by Rhodes. CLASSIC Photographer 

Time out for relaxation! Three of the shapely chorines in Anything Goes, the 

new Bing Crosby musical (just completed), find three different ways of resting. 

Our candid cameraman performed a feat, getting on the guarded set 


Movie Classic for March, 1936 

• • 

but thousands of women asked me to explain why Kotex 
can't chafe . . . can't fail . . . can't show" 

'Marjorie May's Twelfth Birthday" 

^ r VCo^* ore 

downV t0 prevent s 

*°° CO** * ° n ts^one<i- 

"°'° .red*" 5 "* „,•«*»«* 

****** *. *• 


y4// <2? ?Ag Same 
Low Price 

o S P 

-'bodv d roP ,ng. ^es 

ro ore 

IN THE BLUE BOX — Regular Kotex. Ideal for the ordinary needs of most women. 
Combines full protection with utmost comfort. The millions who are 
completely satisfied with Regular Kotex will have no reason to change. 

IN THE GREEN BOX — Junior Kotex. Somewhat narrower than Regular. Designed at 
the request of women of slight stature and younger girls. Thousands will 
find Junior Kotex suitable for certain days when less protection is needed. 

IN THE BROWN BOX — Super Kotex. For more protection on some days it is only natural 
that you desire a napkin with greater absorbency. The extra layers in Super 
Kotex give you extra protection, yet it is no longer or wider than Regular. 



made from Cellucotton (not cotton) 

Movie Classic for March. 1936 



fitom the Uea/H *o£ 






Help yourself to a 
heart-warming slice 
of summer sunshine 
— without the frigid 
icing of winter — and 
for little more cost 
than staying home! 
Greyhound's econo- 
my, its warmth and 
comfort, its wide 
choice of scenic 
routes, make a glori- 
ous midwinter vaca- 
tioneasytotake — and 
so very welcome! 
Send for information, 


Cleveland, Ohio 

... E. 9th & Superior 
Philadelphia, Pennsylvania 

. . Broad Street Station 
Chicago, Illinois 

12th & Wabash 

San Francisco, Calif. . . . 

. Pine & Battery Streets 
Ft. Worth, Texas 

. . 8th & Commerce Sts. 
Charleston, W. Va 

1100 Kanawha Valley Big 
Minneapolis, Minn 

... 509 6th Avenue, N. 
New York City 

Nelson Tower 

Boston, Massachusetts . . 

... 230 Boylston Street 
Washington, D. C 

Detroit, Michigan. . . . 

Tuller Hotel 

St. Louis, Mo 

Broadway & Delmar Blvd. 
Memphis, Tenn 

146 Union Ave. 

New Orleans, La 

... 400 N. Rampart St. 
Cincinnati, Ohio .... 

630 Walnut St. 

Lexington, Ky 

. , . . 801 N. Limestone 
Richmond, Va 

... 412 East Broad St. 
Windsor, Ont 

. . . 1004 Security Bldg. 



Mail this coupon to nearest Greyhound office listed above, 
for pictorial booklet, rates, all information on any winter 
trip. Be sure to iot down place you would like to visit, 
on margin, below. 

Name — 


Left, d few of 
the sound stages 
at 20th Century- 
Fox. You will 
go inside them! 


You may see Claire Tre- 
vor, among others, ap- 
pearing before cameras 


Jack Smalley 



Here's the chance of a lifetime! Take 
the Second Annual Movieland Tour! 

WOULDN'T you like to go to Holly- 
wood this coming summer? 
Wouldn't you like to meet some of 
your favorite stars personally, visit their 
homes, watch them at work and join them 
at play? Start planning now — and this is 
the kind of vacation you can have this year. 
The vacation of a lifetime, spent in Vaca- 
tionland . . . sunny California ! 

Plan now to go on the second annual 
Movieland Tour, starting from Chicago on 
July 19th — or plan to be aboard the Movie- 
land Special when it leaves Chicago on 
August 9th. Take your choice of the 
month you would like to go. Two separate 
trips are being planned. And whichever 
one you take, you will have the most ex- 
citing two weeks that you have ever lived. 
You will see Hollywood, yourself, as the 
insiders know it — and on the way to and 
from the movie city you will cover most 

Movie Classic for March, 1936 

of the other sights worth seeing in the 
West and Far West ! 

And the low all-expense cost of the en- 
tire trip will amaze you. If you are able 
to set aside a few dollars each week from 
now until the first of July (or August), 
the trip can be yours — for very little more 
than you might spend on a prosaic vaca- 
tion near home. Large group purchas- 
ing of railroad and Pullman tickets and 
hotel accommodations is what makes the 
total expense for each member of the 
Movieland Tour so low. 

When you board the special train, bound 
for Hollywood, you won't have to worry 
about "extra expenses" unless you plan to 
shop en route. So you can sit back in 
comfort and enjoy the scenery. 

Magnificent scenery, it will be, too. The 
luxurious special train will pass through 
[Continued on page 63] 


ree Columbia &tar£ 


eautu ^ecref 

Blonde, brunette, brownette, redhead!... 
here is a new make-up to emphasize the 
individual color attraction of your type. 

WHAT a thrill to see a new, a more beautiful, a more charming personality 
reflected in your own mirror. And this is what you may confidently 
expect with your own personalized color harmony in this new make-up created 
by Max Factor, Hollywood's make-up genius. For imagine how perfect it must be 
. . . each shade of face powder, rouge and lipstick actually created to flatter the 
beauty of famous 6creen star types. 

Face Powder Creates a Satin-Smooth Make- Up 

As you may know, screen stars will entrust their beauty only to a face powder 
that adheres perfectly.. .so you may be sure Max Factor's Face Powder will 
create for you a satin-smooth make-up that will cling for hours. And the 
lifelike color harmony shade will actually enliven the beauty of 
your skin, creating an appealing loveliness that will delight you. 

Rouge, Like Artist's Color Tones, Beautifies Naturally 

Actual lifelike color tones, that is the secret of Max Factor's color 
harmony Rouge . . . and you will discover the difference in the 
natural beauty it brings to your cheeks. Your correct shade har- 
monizes with your powder and complexion colorings. you blend 
it, you'll note how creamy-smooth it is, like finest skin texture. 

Lip Make-Up That Lasts and Lasts 

Because it's moisture-proof, because it gives 
to the inner and outer surface of your lips the 
same alluring, beautiful color harmony 
tone . . . Max Factor's Super-Indelible 
Lipstick is the one that keeps lips love- 
ly for hours; yes, it is the lipstick 
that Hollywood knows will with- 
stand every test. 

NOW the luxury of color harmony 
make-up, created originally for 
the screen stars by Hollywood's 
make-up genius, is available to you 
at nominal prices.. .Max Factor's Face 
Powder, one dollar; Max Factor's 
Rouge, fifty cents; Max Factor's Super- 
Indelible Lipstick, one dollar . . . fea- 
tured by all leading stores. 







Max Factor's 

Face Powder 


in Columbia's 

Max Factor's Rouge 


in Columbians 



Max Factor's Lipstick 


And it is Max Factor's 
name only, that assures 
you of true color har- 
mony tones in Face Pow- 
der, Rouge and Lipstick. 
Remember . . . that the 
Award of the Academy 
of Motion Picture Arts 
and Sciences, and the 
Seal of Approval of Good 
Housekeeping Magazine, 
is recognition that must 
have been deserved. 

axjacwr* ttouviwoo 


FOR personal make-up advice 
...and to test your own color 
harmony shades in powder and 
lipstick, mail this coupon. 

SOCIETY MAKE-UP: Face Powder, Rouge, Lipstick In Color Harmony 

) 1936 by Max Factor & Go. 


, MAX FACTOR, Mas Factor's Make-Up Studio, Hollywood: 

• Send Purse-Size Box of Powder and Rouge Sampler in my color harmony shade; 

• also Lip;iick Color Sampler, four shades. I enclose ten cents for postage 
" * and handling. AUo send me mv Color Harmony Make-Up Chan and 48-page 
■ i Illustrated Instruction book, "The A'ew An of Society Make-Up". . . FREE. 

; 5-3-94 

• NAME — — 



Very Light D 

Creamy D 

Medium ___Q 
Ruddy. _ __D 








Gray □ light. _0 Djrk__D 


Hazel D Ligh<__a Dark„n 



Light D Light. _Q Dark„D 

"I IfH<bifGT**,dtd 
I lypt above and Ar-f.O 


Movie Classic for March, 1936 


Here she is — the ex- 
platmum-blonde, now- 
brownei+e Jean Har- 
low, as you will see her 
m "Riff Raff" 


The Latest Reviews . . . 

c Cag ?. 1 ' 7 e ro 



Rot> ert . 

A \\ce 


Ju<i<3 e 

Ra** er ' 
Warned V^eS^ 

• • • • 
Riff Raff is not a great picture, but out 
of its smooth mixture of comedy and drama 
emerges a new Jean Harlow. The girl 
who became famous as THE platinum 
blonde has made a courageous move ; she 
has changed to "brownette." And from 
the change she has gained new attractive- 
ness and — what is more important — new 
credibility as an actress. No matter what 
talents she may have shown before this, 
her exotic-hued hair has always kept her 
from appearing completely real ; now, with 
her hair of such a color that her acting 
can outshine it, she should begin going 
places as a dramatic actress. 

She is already on her way in Riff Raff, 
in which she has Spencer Tracy, always 
one of Hollywood's most believable actors, 
as her co-star. The setting is a colorful 
one — that section of California devoted to 
the canning of tunafish. She is a cannery 
belle ; he is a champion fisherman — and 
they are naturally attracted to each other, 
even though they don't want to admit it. 
They have some comic combat before they 
marry. Then, after some tough breaks, they 
encounter trouble of a melodramatic order. 
Once the story curdles slightly ; that is when 
the scenarist rings in a prison-born baby 
for some sob effects. The rest of the 
time, the tale has forceful sincerity and 
honesty, with both Jean and Spencer liv- 
ing their roles. As Jean's tattered sister, 
Una Merkel, stands out. (M-G-M) 

Professional Soldier is a surprise picture. 
You expect it to be some sort of war 
story, and it turns out to be an exciting 
and amusing fantasy. Victor McLaglen 
and Freddie Bartholomew are the stars. 
McLaglen is a rough-and-ready ex-Marine 
looking for trouble, so that he can get into 
it. And when he takes an assignment 
from some revolutionists to kidnap a Bal- 
kan king, he gets into plenty. For the 
king turns out to be a boy — a very human 
boy, with all of a boy's inclinations. The 
man doesn't want to kidnap him ; the boy 

insists. He wants to escape his kingly con- 
finement and be "regular." And "regular" 
he becomes, with amusing developments 
and with the embarrassment of his reluct- 
ant captor, who has become his model of a 
man worth copying. And, despite himself, 
the likable roughneck works up a real lik- 
ing for the youngster — such a liking that 
he finally risks his life for him. Ring up 
another hit for each one of them! (20th 

Ceiling Zero packs the biggest dramatic 
wallop of any James Cagney-Pat O'Brien 
picture yet produced. It isn't a picture 
that will keep you occupied for an eve- 
ning and then let you forget it ; memory 
of it will stay with you for days, weeks, 
months. Beside it. their previous avia- 
tion picture, Devil Dogs of the Air, seems 
minor and inconsequential. Ceiling Zero 
plays on every one of your emotions, not 
just a scattered few. This time there is no 
flag-waving for emotional effect ; they are 
commercial aviators, and the major setting 
is Newark Airport. O'Brien is manager 
of the airport, which is the base of opera- 
tions for Cagney a daredevil aviator who 
fears neither foul weather nor fair women, 
but has all due respect for O'Brien. To 
keep a date with June Travis, he plays 
sick to get out of a flying assignment, and 
Stuart Erwin takes out his plane, runs into 
a storm, and crashes. Torturing himself as 
the cause of Erwin's death, Cagney goes 
aloft to test new ice-resisting equipment, 
radios tips for improving the device, and 
then finds the wings of his plane becoming 
heavy — too heavy. Both stars are superbly 
real ; so are Erwin, as the slow-talking, 
unlucky flier, who is afraid of his wife — 
Isabel Jewell, in a poignant, dramatic bit 
as his widow — Gary Owen, as a victim of 
a crack-up — and June Travis, as the girl 
who thinks Cagney means what he tells 
her. (Warners) 

Magnificent Obsession is the kind of pic- 
ture that is hard to find these days — a pic- 


ture that glorifies faith, hope and charity 
in the magnificent manner. It stars 
Irene Dunne and Robert Taylor, both of 
whom reach new heights in their respective 
roles. . . . Based on the best-selling novel 
of the same name by Lloyd C. Douglas, it 
keeps the spirit of the novel ; and it keeps 
the romance of the story in its place, never 
letting it dwarf the main theme. Taylor, 
in the beginning is a young playboy whose 
practically worthless life is saved by a pul- 
motor — while another man's valuable life 
is lost. Irene is the young widow of that 
man, a surgeon. The irresponsible playboy 
later meets her, makes romantic advances, 
and sees her step out of his car into the 
path of another. The accident causes the 
loss of her sight. Taylor, sobered now, 
dedicates himself to the "magnificent ob- 
session" her late husband had had — helping 
others secretly. Never exciting, but always 
absorbing, it has a mood that is transmitted 
to every onlooker. (Universal) 

King of Burlesque has a thin story, but 
reason : it also has a clever cast, clever 
scenes, and music that demands humming. 
The titular star is Warner Baxter, but Jack 
Oakie, with a richer role, walks away with 
the picture . . . which practically demands 
your attendance, if you enjoy musicals. 
This one, like too many, has a backstage 
atmosphere — but it changes that atmos- 
phere, as few do. Baxter plays a producer 
of burlesque shows, who has Oakie for a 
stooge and pal, and Alice Faye for a girl- 
friend. They persuade him to branch out 
in a big way and then see him topple for 
a once-wealthy widow (Mona Barrie) who 
has her eyes on his bankroll. When he 
loses that bankroll, Oakie and Alice see 
that he makes a comeback. The story will 
hardly have you in a dither. But you are 
likely to have hysterics, watching Oakie, 
not to mention his marriage-minded girl- 
friend, Arline Judge ; you will have to 
admit that Alice Faye, as a singer, tops all 
her previous efforts ; and you will go into 
raves about the dancing of 12-year-old 
Gareth Joplin. (20th Century-Fox) 

Modern Times is Charlie Chaplin's latest. 
Like every other Chaplin picture, it is 
something not to be missed. It has all the 
ingredients of entertainment that all of his 
previous pictures have had, plus satire of 
modern conditions. The story is by Chaplin, 
himself, as are the incidental music, the 
direction . . . and the silence. The picture 
opens with Charlie as a worker in a vast 
factory — a worker who screws nuts to 
plates on an endless conveyor belt. The 
monotony of his work finally makes him 
balmy and he has to take a rest cure. 
When the cure is over, so is his job. 
Arrested mistakenly as a Red, he discovers 
the comforts of jail, but changes his mind 
about wanting to stay there when he meets 
Paulette Goddard, a waif who needs a 
friend. Trying to help her, he encounters 
comic-pathetic difficulties, finds himself in 
and out of jail. The best and funniest 
part of the picture is that dealing with 
the factory — a setting seldom (too seldom) 
satirized on the screen before. The Chap- 
lin pantomime throughout the picture is as 
eloquent, as flawless, as it ever was. And 
Paulette Goddard, who has a "straight" 
(not a comic) role, is pert, pretty and hon- 
est in her protrayal of the waif. (Chaplin- 
United Artists) 

The Passing of the Third Floor Back is 

an unusual picture, unusually affecting. It 
tells a simple story simply, but with such 
quiet power, such inspiration, that it glows 
with emotion. Into an ordinary boarding 
house, inhabited by a small group of ordi- 
[Please turn to next page] 

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Movie Classic for March, 1936 21 

The Latest Reviews . . . 

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[Continued from page 21] 

nary people who live ordinary lives, comes a 
man who is known only as The Stranger. 
And his coming has a strange effect upon 
all the lives there. Sordidness goes out of 
those lives, along with unhappiness. But 
after all the changes are wrought, after his 
magnetic presence has brought new light 
into dark hallways, The Stranger quietly 
departs. He cannot stay. Impossible to 
escape is this impression : This man is 
Christ come back to earth as a modern. 
. . . Conrad Veidt, one of today's few great 
actors, plays the role with such hypnotic 
fascination that it is impossible to imagine 
any other actor in the part. This is the 
final test of great acting. (G-B) 

If You Could Only Cook is one of the 

most delightful comedies that 1936 has 
brought us — or will bring us. It has a 
light, inconsequential story, but it also has 
rare charm and reality and continuous ac- 
tion and smart dialogue. Herbert Mar- 
shall and Jean Arthur (at last Hollywood 
is beginning to appreciate her ! ) are the 
stars. He is a millionaire auto manufac- 
turer, world-weary, who takes his woes 
to a park bench, where he is mistaken for 
one of the unemployed by Jean, who has 
no job. She suggests pretending they are 
married and apply for positions as butler 
and cook in the menage of Leo Carrillo, 
big-time racketeer. Marshall, considering 
the idea a lark, accepts her suggestion — and 
then the fun begins. (Columbia) 

• • • 

Sylvia Scarlett presents Katharine Hep- 
burn as a girl, born to be an actress, who 
disguises herself as a boy in order to help 
her knavish father, becomes a member of 
a wandering troupe of players, and eventu- 
ally reveals her womanliness. The story 
is colorful, if episodic, but the acting far 
outshines it. First honors go to Hepburn. 
However, the big surprise of the picture is 
Cary Grant, who rises to the front rank of 
screen actors with his performance of a 
petty cockney smuggler who turns trouper. 
Less effective is Brian Aherne, as an artist 

with whom Sylvia falls in love. Edmund 
Gwenn, as her rapscallion father, gives a 
fine characterization. (RKO-Radio) 

Whipsaw brings Myrna Loy back to the 
screen after an absence of too many 
months, with Spencer Tracy as her co-star. 
It is exciting melodrama — nothing more, 
nothing less — revolving around a battle of 
wits between G-Men and a band of jewel 
thieves. Myrna is the fascinating feminine 
foil of the sparkler-snatchers, whose men- 
tal duel with G-Man Tracy is complicated 
by love. It's not a new story, but the char- 
acters are more interesting than thev used 
to be. (M-G-M) 

Paddy O'Day is the latest effort of 
Shirley Temple's closest rival, Jane With- 
ers, and an entertaining little picture it is, 
giving Jane plenty of opportunity to sing 
and dance. She plays the part of an or- 
phaned waif who is smuggled into the coun- 
try, becomes an entertainer in a cafe, and 
sees her new-found friends (patriots, all ! ) 
work hard to win citizenship for her. The 
youngster has genuine talent, plus a robust, 
mischievous appeal that is never artificial. 
(20th Century-Fox) 

Chatterbox makes a star of Anne Shirley, 
proving that she is the best actress of all 
the screen ingenues. Sweet, simple and senti- 
mental, the story has warm human interest 
and Anne is refreshing in her emotional 
honesty and lack of affectations. She leads 
a lonely life on a Vermont farm with her 
grandfather, who had disowned her mother 
for becoming an actress ; but the longing 
to act is in the girl's blood, and she finally 
tries to make her dream come true. Her 
performance is compelling in its simplicity 
and sincerity. Neat restraint is shown 
also by Phillips Holmes, as a young artist 
who cannot force himself to destroy the 
girl's self-made illusion. (RKO-Radio) 

First a Girl helps to explain why Holly- 
wood has been making frantic efforts to 
obtain the services of Jessie Matthews, the 


P. 0.. 

In Modern Times, you will see Charlie Chaplin go through the motions of 
singing a song in a night-club. He can't remember the words, so Paulette 
Goddard writes them on his cuff. And in his first gesture, he shoots his cuff! 


Movie Classic for March, 1936 

pert little English star. With her chic 
individuality, her piquant charm, her tal- 
ents as a comedienne, singer and dancer, 
she can glorify the slightest of stories. This 
time she plays a girl who want to go 
on the stage — but gets her chance in an un- 
expected manner. She takes the place of a 
"hammy" female impersonator (amusingly 
played by Sonnie Hale) and is so realistic- 
ally feminine that she has audiences debat- 
ing whether she is a boy or a girl. Then* 
she falls in love, and complications (of an 
adult order) appear, between her songs and 
dances. Her dancing is spectacular, her 
singing delightful, and her personality po- 
tent. (G-B) 

Lady of Secrets brings back the talkies' 
first successful star — Ruth Chatterton. 
And, in story, the well-produced pic- 
ture is reminiscent of those early successes. 
It is heavily emotional, problem-drama. 
Again, she plays an unwed mother, whose 
child is raised as her sister, until the girl is 
eighteen and is on the verge of marrying 
an older man — with whom her mother sud- 
denly discovers she, herself, is in love. 
Marian- Marsh also shines, as the pretty 
daughter ; Otto Kruger, as the man they 
both want to marry ; and Lionel Atwill, as 
Ruth's stern father, who really suffers the 
most. (Columbia) 

Fang and Claw is typical of all of Frank 
Buck's pictures — exciting, straight-forward, 
candid-camera drama with a jungle setting 
and a real-life flavor. He still is bringing 
'em back alive ingeniously and despite the 
fact that a camera is never far away, you 
get the illusion of watching incidents that 
were unplanned. (RKO-Radio) 

Two in the Dark is a suspenseful, un- 
usual mystery drama — distinctly out of the 
ordinary. Partly, that is because of the 
story : mostly, it is because of the acting — 
chiefly by Walter Abel and Margot Gra- 
hame. Abel indicates screen possibili- 
ties a la Paul Muni ; and Margot delivers 
another cameo characterization. Abel, a 
victim of amnesia, is befriended by a lone- 
ly girl, who leads him back into his past, 
in which, they discover, he was involved in 
a murder mystery. (RKO-Radio) 

Rose of the Rancho, in its newest film 
form, will be chiefly remembered for one 
thing : it marks the screen debut of the 
loveliest of all the opera stars and the one 
with the greatest natural voice — Gladys 
Swarthout. Her picture is not everything 
that it should be, but that is not her fault. 
Too many writers had a hand in the script 
— managing, among them, to bury the orig- 
inal story under a carload of trivial dialogue 
and haphazard scenes ; a colorful story of 
the California of 1852. John Boles plays 
the handsome hero. Their singing is 
something to hear and to cherish. Not 
only does the darkly beautiful Swarthout 
have a magnificent voice ; her use of it is 
utterly effortless. (Paramount) 

Hitch-Hike Lady has an unfortunate 
title, but down-to-earth humor like It 
Happened One Night, even if it is a bit 
more folks)'. Alison Skipworth, a naive 
Englishwoman, has a devoted son who 
writes to her from "Rancho San Quentin, 
California." Thinking he is a rancher, she 
sets out to pay him a visit, not realizing 
that California is 3,000 miles from New 
York. Finally, she teams up with a young 
American girl (Mae Clarke) and becomes 
a hitch-hiker. James Ellison gives them 
a lift and later the party is joined by a 
[Continued on page 81] 



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Movie Classic for March, 1936 





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Associate Producer Raymond Griffith • Directed by Tay Garnett 


Movie Classic for March, 1936 


Them Over 

The greatest movie favorites of the year just past were 
a pretty little girl, aged six, and a homely, homespun, 
middle-aged man. Shirley Temple and the late Will 
Rogers, in that order. Two of the least affected, most 
natural stars who ever adorned the screen. 

There is food for thought there for the posturers 
and poseurs and publicity-seekers (who sometimes 
pretend they are publicity-dodgers). The actors and 
actresses who aren't anything but actors and actresses. 

Shirley and Will were so supremely the "tops" in pop- 
ular appeal that their closest pursuers were hardly 
within whistling distance of them. And who were the 
next greatest favorites? The theatre managers of 
America — who take their soundings from the box-office 
cash registers — list them in this order : Clark Gable, 
Fred Astaire and Ginger Rogers (as a team), Joan 
Crawford, Claudette Colbert, Dick Powell, Wallace 
Beery, Joe E. Brown and James Cagney. 

There isn't one in the crowd who is famous for 
temperament, for headline-crashing, for publicity 
stunts. They're "regular." They're human. They're 
honest. They're real. 

A provocative footnote to the theatre managers' story 
is that, separately, Fred Astaire and Ginger Rogers 
have only a little more than half of the appeal that 
they have together. They are the most satisfactory 
movie match in a whole generation of moviegoers, 
with each a neat counterbalance of the other. A reader 
phrases it succinctly on page 90; "Ginger without Fred 
is like a landscape without an artist, and Fred without 
Ginger is like an artist without a hand." 

Everybody's wondering at this writing, who will win 
the Academy award for the best acting of the year. 
Why doesn't someone step up and wonder why the 
Academy doesn't give a special award for the best 
dancing of the year? Fred Astaire would win it, and 
everybody would be happy, with the satisfaction of 
seeing a little credit bestowed where great credit is 
due — upon the man who has done more for imaginative 
dancing, smart comedy and lilting music on the screen 
than ten other men have done. 

There isn't a chance of Fred's being considered for 
the Academy award for "the best acting of the year." 
The gifted comedian, who can tickle the fancy of the 
world whenever he wills to do so, doesn't rate — for 
some strange, unaccountable reason — with the dramatic 
actor who rises to one magnificent performance. 

Consider the case of Charlie Chaplin (whose latest 
picture, Modern Times, is at last on view). Master of 
pantomime, originator of the character he enacts, ad- 
mittedly a genius of entertainment, he never has won 


There's no doubt 
about it now. Shir- 
ley Temple is Amer- 
ica's Public Favor- 
ite No. I ... . 

the Academy award — even though his pictures and 
performances are shown (and remembered) year after 
year, the world over. Chaplin can make any audience, 
in any part of the world, rise out of itself and laugh — 
and, moreover, cherish its laughter. Yet the Academy 
of Motion Picture Arts and Sciences passes him by. 

The first big outdoor picture to be filmed in "natural 
color" — The Trail of the Lonesome Pine — is almost 
upon us. And Henry Fonda, who plays the role of the 
mountain boy, told me the other day, "This time I 
think they've done it — made a color picture that people 
will accept as natural. Director Henry Hathaway was 
smart. He made the color secondary to the story, 
never let it get in the way of the story — and saw to 
it that there weren't any bright, glaring colors. The 
other night, one of the Technicolor people was intro- 
duced to him. 'Is Hathaway the name?' he asked. 
'Henry Hathaway?' He salaamed to him. 'You're 
the man we've been looking for, for fifteen years'!" 
If Fonda, Hathaway and the Technicolor people are 
right, we're in for a treat. One of these days, cer- 
tainly, some color picture will be both a visual delight 
and a dramatic masterpiece. 

There isn't a producer in Hollywood who isn't ripe 
with envy over the latest achievement of fast-thinking, 
fast-moving Darryl Zanuck, production head of 20th 
Century-Fox. Other producers had sensed the box- 
office value of having the Dionne quintuplets appear 
briefly in a movie, but Zanuck — and Zanuck alone — saw 
the box office possibilities of having an entire feature pic- 
ture revolve around them. And where other producers had 
failed to interest the quints' official guardians, Zanuck 
succeeded. The front-page publicity that The Country 
Doctor already has received is worth millions of dol- 
lars ; there isn't a newspaper reader anywhere in the 
world who isn't conscious that the quints' are to be the 
stars of a coming picture ; and nine of every ten of 
those newspaper readers intend to see the picture. 
And with this one brilliant "scoop" Zanuck empha- 
sizes to the world at large that the new merger of 20th 
Century-Fox is going to produce pictures that the 

world at large won't want to miss. 

2 R^A 


<*** % 

J-vieu it <~>kciv J lie it Jxiic U ctc\ 

A colorful story with a colorful setting, starring three colorful 
people, deserves to be filmed in color. And "The Trail of the 
Lonesome Pine" IS being pho+ographed with a color-camera. You 
will see Sylvia Sidney, Henry Fonda and Fred MacMurray as people, 
not gray shadows. When Henry and Sylvia stand beneath the 
tree "where she carved her name and I carved mine," you will 
appreciate doubly why they are attracted to each other. And 
when Fred, as an engineer from "outside, looks into Sylvia's eyes, 
you will have a new kind of thriil. For never before has a great story 
been filmed in natural color outdoors — where all colors are natural! 



?W tlti 

^rTiluatd 1 

Harriet Hilliard is the full name, and she is This 
Month's Big News to Star-Discoverers. You 
will see her in the new Astaire-Rogers musical, 
"Follow the Fleet" — you will have the hunch 
that she is going far — and you will want to fol- 
low her all the way. The girl has glamor, per- 
sonality and talent. Where does she come 
from? New York and radio, where she has 
starred as soloist with Ozzie Nelson's orchestra 

—Photo by Ernest Bachrach 

While doing a bit of silken lounging 
between pictures, Alice Faye has just 
won the right to be known as Alice Faye 
in real — as well as reel — life. The 
courts have decided that she has 
reached the point where the whole world 
knows her by her stage name. So it is 
hers now for keeps. And who hasn't de- 
cided that she has reached the point of 
stardom? Particularly, after her por- 
trayal with Warner Baxter in the big 
musical picture, "King of Burlesque"! 

—Photo by Otto Dyar 


A great big basket is about to 
be left on the world's doorstep, 
and the world will adopt all 
five of the baby stars in it. 
They are the five famous 
Dionne sisters of Callander, 
Ontario, stars of the picture, 
The Country Doctor. We're 
taking the photographer's 
word for it that, left to right, 
they are Cecile, Emilie, Marie, 
Annette and Yvonne (stand- 
ing). Not all of the movie- 
makers could tell them apart! 

World Copyright, 1935. 
NEA Service, Inc. 

a Five-Star Picture! 

{The Quints Are in It) 

Here is the full story of the filming of one movie that the 
whole world wants to see — one movie that has no equal! 

CAN you think of any one picture in the history of 
the movies that every person in the civilized world 
has wanted to see? Well, one is coming to your 
theatre soon ! A picture with five stars, all of whom will 
receive equal billing. A picture called The Country Doctor 
— starring the Dionne Quintuplets of Callander, Ontario, 

They were not taken to Hollywood to appear in the pic- 
ture. Hollywood was taken to them. 

Ever since the Miracle of May 28, 1934, when five little 
girls were born to Oliva and Elzire Dionne, a French- 
Canadian couple who lived in Northern Ontario, the interest 
of the world in these five mites of humanity has been in- 
tense and unabated. In fact, it has constantly increased. 
Here has been real-life drama — drama such as the world 
has never seen before. For never before have quintuplets 
survived for even as long as one hour. 

At firs\, as dav succeeded dav and the babies still breathed. 

the newspaper readers of the world discovered a new kind 
of suspense. Could Dr. Da foe, the country doctor who had 
brought them into the world, do what no physician had ac- 
complished before? Could he keep all five of these tiny 
pulses beating? As week succeeded week, and month fol- 
lowed month, and the babies grew and thrived, the world 
gave this kindly, commonsense, country doctor the applause 
of awe. It clamored for more and more pictures of Marie, 
Emilie, Cecile, Annette and Yvonne. Every new photo- 
graph of them made home editions of newspapers sell like 
extras. Every new brief newsreel of them made theatres 
hang out the "Standing Room Only" signs. People couldn't 
see enough of the Dionne quintuplets. They wanted more! 
Maybe they didn't know it then, but they know it now — 
they wanted to see a full-length motion picture of the quin- 
tuplets, a picture dramatically showing their daily life. And 
now it is on the way. Hollywood has been to Callander, 
Ontario. And the story of that trip [Continued on page 78 ) 




the Screen? 


Money isn't important to Nelson Eddy. Singing great music is 

IN LESS than one year, Nelson Eddy has risen from 
comparative obscurity to a pre-eminent position on the 
screen. A year ago, he was Metro-Goldwyn-Mayer's 
forgotten man, shunted into unimportant roles ; today, he 
receives more fan mail than any other Metro star — and 
there is no sign of a letdown. 

Were he the average actor, that phenomenal one-picture 
rise to fame and stardom would, in itself, be completely sat- 
isfying success. Few actors, even in this hectic maelstrom 
of overnight triumphs, have ever leaped to so lofty a pin- 
nacle in so brief a span of time. Few have ever been in a 
more strategic position to demand — and command — -all of 
the financial rewards that the screen is willing to lavish on 

To Nelson, however, that success, in itself alone, would be 
failure, a disappointing compromise with a greater ambition. 
He came to pictures regarding them as the means to a de- 
sired end. In his estimation — the thousands of fan letters 
notwithstanding — they remain exactly that. And the "end" 
is not in Hollywood — at least, not now. 

Years ago he conceived an ambition and set for himself a 
certain artistic goal. He charted his course, step by step, 
with that goal in view and neither the many setbacks that 
he met prior to his triumph in Naughty Marietta, nor his 
great popularity since his appearance in that picture, have 
altered in the least his vision of that desired destination. 
He set out to be a great singer and, moreover, to be a 
singer of great music. Financial considerations were 
secondary then and they still are secondary today. 

• When he first signed with Metro-Goldwyn-Mayer, he 

was already winning a distinguished position on the 

concert stage. The studio executives wanted control of all 


The movies' most sensational singins 
star has turned down a fabulous film 
offer and has gone on a concert tour. 
What does it mean? He tells you! 


In "Rose Marie,' Nelson 
Eddy and Jeanefte Mac- 
Donald sing "The Indian 
Love Call" in an unusua 
setting — a canoe 

his time: he refused to give them more than six months 
out of each year. The other half-year he reserved for 
concert work. After his great success in Naughty 
Marietta, the picture producers became more insistent in 
their bids for a year-long contract. They offered him ex- 
travagant salary raises if he would only give up "that con- 
cert foolishness." What did he want to fiddle around with 
that for when he had an almost unbelievably brilliant screen 
career right in his grasp? 

And, to all of their arguments, he remained adamant. 
Only eight months out of each year would he consent to 
devote to pictures. The other four months must remain his. 
The screen would not permit him to sing such music as he 
wanted to sing ; consequently, the screen must give way to 
concerts in which it could be sung. 

For his allegiance to his ambition, he has paid a price — a 
price of thousands of dollars a week. 

His almost unheard-of attitude has provoked a 
storm of questions, and the one that is asked most 
insistently is this: 

"Does Nelson Eddy plan to quit Hollywood? Has he 
used the screen merely as a stepping stone?" 

And here's the answer : 

• HE NEITHER proposes to quit the screen nor to aban- 
don his annual concert tours. Not long ago, just after 
completing Rose Marie and just before launching his present 
tour, he told me : 

"1 am deeply grateful for the screen success I've had. In 
a year's time, it has carried me five years nearer the realiza- 
tion of mv ambition. I still find it hard to believe that one 
picture could do for anyone what Naughty 
Marietta did for me. 

"Before, I was fairly well-known in certain 
musical circles ; now I am known everywhere 
and my concert tours are in the nature of 
personal appearances. I am in demand, and, 
whether the demand is based on curiosity or 
an honest appreciation of music, it enables me 
to sing the music 1 want to sing — to larger 

"On this tour, I'm booked to sing in ap- 
proximately fifty cities and my managers ad- 
vise me that virtually every concert is already 
sold out. That would have been impossible 
two years ago ... I think there is a definite up- 
swing in the public's appreciation of good 
music and I think the screen deserves a large 
measure of the credit, in spite of the fact that 
the first really great musical picture still re- 
mains to be produced. 

"In my opinion, great musical pictures can- 
not be produced successfully — yet. The pub- 

ln his new picture, Rose Marie, Nels> 
Eddy has an opportunity that he fe< 
too few singers have had in films. I 
sings in an outdoor setting. And, mor 
over, the setting is the real thing. / 
outdoor sequences of the picture we 
filmed at beautiful Lake Tahoe, in tf 
high Sierras. And, for the second ti r 
he and Jeanette MacDonald ar 
stars. He plays a member of the 
west Mounted Police; she plays a 
who is trying to aid her fugitive 
I played by a new "find," James S 

lie is not yet ready to ac- 
cept the best in music 
and no studio dares to 
risk the tremendous 
financial losses that 
might be involved. 

"Hollywood has been 
content thus far to copy 
the stage. Most of our 
pretentious musical pic- 
tures have been 'back- 
stage' subjects. The 
public is certain to tire 
of the same theme re- 
hashed over and over again, especially when every song 
sequence is limited by the narrow boundaries of the stage. 
The movie camera has such mobility that music could be 
taken outdoors. In Naughty Marietta, it was, to a certain 
degree. Rose Marie is even more of an outdoor operetta. 
It's a step, I think, in the right direction. 

• "There has been a lot of talk about presenting existing 
operas in their entirety on the screen. That, I believe, 
would be folly. In the first place, any argument that the 
public has displayed its willingness to accept opera is erro- 
neous. Only operatic arias — the 'hit' songs — have been at- 
tempted. The intervening 
musi c — the meat of the 

opera — has been studiously Nelson Eddy is serious abou 
avoided. his singing career — but he': 

f Continued on page 73] a dov/n-to-earth person, too. 

, A »\tvft» 


cC ee 


^"Success St 
Co///» Be Yours 

No matter who you are, or where you are, you 
can take cues from JEANETTE MacDONALD— 
who makes her abilities match her ambitions! 


THERE'S a girl I know who wants to be a screen star. 
Probably you know her, too, for she lives in every 
block, in every street, in every hamlet, town and city. 
Let's call her Mary Doe. 

She's always talking about her "great ambition." She 
likes to sigh because unkind Fate deprives her of "her 
chance.'' She's sure that if someone would only give her 
"an opportunity," she would become famous overnight — 
and live very, very happily ever afterward, surrounded by 
adulation, wealth, leisure and romance. Poor Mary! You 
all know her — she talks so much and does so little ! 

It's Mary, especially, for whom this story is written. I 
want to tell her about Jeanette MacDonald. I want to try 
to prove, by citing the example of one of the most successful 
women on the screen today, just how much hard, hard labor 
is involved in the climb to stardom — and just how much 
harder work is needed to maintain that position. I want to 
show Man- just what "great ambition" really means, when 
it is converted from talk into action. 


Jeanette has won her way to most of the pinnacles from 
which Mary would like to view the world. And she started 
from scratch, with nothing to carry her forward except her 
own abilities, her own courageous determination and her 
own hard work. 

Today she earns a tremendous amount of money every 
week. She has a beautiful home, a beautiful car, a mag- 
nificent wardrobe. She is acclaimed a great singer, a great 
actress, a brilliant personality. 

Jeanette, in short, has everything that Mary vaguely wants 
— everything but leisure ! She never has time to talk much 
about her ambitions, for she is too busy toiling to fulfill 
them. She has worked — as few people ever work — to reach 
her place in the sun, and, now, having reached it, she still 
works, constantly, to climb still higher. You see, she knows 
that. . . . 

". . . this is the most competitive profession in the world. 
One can only press forward or skid backward. I don't know 
the meaning of leisure. If I [Continued on page 68] 

Don't Misunderstand 
the Clark Gables! 

If you had been in Clark Gable s 
place, what would you have done? 

Before you talk about the part- 
ing of Clark and Ria Gable, 
read this understanding story 
and ask yourself what you 
would have done in the 
situation they have just faced! 


CLARK GABLE stood at the rail 
of a steamship coming from 
South America. His dark hair 
caught the mist from the sea and 
went unnoticed. His eyes watched the 
emptiness of the horizon and brooded. 
Water and then more water; sky and 
then more sky — trying to meet, seem- 
ing to meet, yet never touching. Is 
life like that? Do we roll along — 
along — trying to reach for a sky? 

We all have such thoughts when we 
stand on a ship and gaze at the end- 
less blue above and beneath us. There 
was not a passenger on that liner 
who did not stand thus and ponder. 
Yet there was not one who did not 
wonder why Clark Gable stood at the 
rail and brooded. 

Clark Gable ! Surely he was one 
man whose sea and sky had met. What 
more could one nan have — what more 
could he want i He was handsome, 
virile, a world hero. Why, in South 
America no man had had such adula- 
tion since Rudolph Valentino! "He 
makes five thousand dollars a week," 
the travelers whispered to each other. 

One passenger spoke for all of them 
when he said, "If I were Clark Gable, 
I don't think I'd be brooding." 

If he had been Clark Gable! If any 
one of them had been ! They knew 
what they would do ! . . . But did they ? 
What would they have done? What 
would you have done if you had been 
Clark Gable then ? I wonder. 

I wonder also how widely scattered 
those passengers were when they 
picked up their morning papers three 
weeks after that South American liner 
had docked. To each, the faces of the 
other travelers already were blurred, 
perhaps for- [Continued on page 70] 

. . Or 


if you had 
what woul 

d you 

n Ria Gable's 
have done? 


Fred Astaire wears a gob hat, 
not a top hat, in Follow the 
Fleet, and he does some neat 
and nifty dancing in what 
might be called jig-time — 
sailor's jig-time. On the 
screen, that dancing will look 
utterly effortless. And, read- 
ing this story, you will under- 
stand how Fred gains that 
effect — to the amazement 
even of his co-workers 

This is the 
Fred Astaire 

We Know 

Ginger Rogers and five other co-workers, 
who see the amazing Fred as he really is, 
break a long silence about the man . . . 

chosen to work with him, not because of his personal in- 
clinations, but because of their own particular capabilities 
in this business of picture-making. They see Fred as he is, 
therefore, without bias for or against him. They are a 
famous screen star, a director, a script girl, a studio "grip," 
a cameraman and a dance director. They are, respectively. 
Ginger Rogers, Mark Sandrich, Gertrude Wellman, James 
Kirley, David Abel and Hermes Pan. 

It was Ginger whom I first asked about Fred. I found 
her on the Follow the Fleet set, working hard on a solo dance 
for the picture. But she took a little time out to talk about 
this other half of the renowned Astaire-Rogers dancing 

"Fred is — tops," she told me. "That is the best word I 
can find to describe him. He is tops as a dancer and tops 
as a person. He is talented and clever. His style in dancing 
is his own and he never seems at a loss for a new idea. If 
you are a dancer, you can appreciate what that means — 
being able to think up and execute something new all of the 
time. Fred and I have made three pictures together and 
are working on a fourth. [Continued on page 64] 


THIS Fred Astaire — what is he like: You have seen 
him dance, perliaps on both stage and screen — and 
have thrilled to the magic of his winged feet. You 
have seen him act in pictures. You have chuckled at his 
wit and perhaps have sensed the wistful poignancy of his 
comedy. You are probably an Astaire fan. Most people 

But Fred, himself— what of him? What of the Fred 
who appears behind the scenes? What of Fred, the man, 
not the dancer or the actor ? Is he "human" ? Is he likeable ? 
Is he popular ? Is he respected by those who know him ? . . . 
What is he really like? . . . 

Six persons at the RKO Radio Studios have answered 
this question for you and me — for the first time. They are 
not Fred's personal friends in the usual sense of the word. 
They are people with whom he works. They have been 


Dance V 



ide Wc 

reading thi» ? cn ' P 

Paulette Goddard- 

Qhaplin's Mystery Girl 

THREE years ago. on a week-end yachting part} - , 
Charlie Chaplin met a Glorified Goldwyn Girl who 
was currently appearing in The Kid from Spain. Her 
name was Paulette Goddard. 

Since then this girl has commanded attention — first as 
the constant companion and rumored wife of Chaplin, and 
later because of her own arresting personality. She attracts 
instant interest wherever she goes, yet remains a woman of 
mystery. Few really know her. 

Before very long the entire world will see her on the 
screen as Chaplin's leading woman in his newest picture, 
Modern Times. Then her talents as an actress will be there 
on the silver sheet for all to judge. Whether or not artistic 
fame will be her destiny is in the lap of the gods. And 
until they pass their verdict, she will not discuss her own 
qualifications as an actress, her private life, or her hopes 
and her desires. 

"Why should I talk about myself for publication?" she 
said to me very recently. "If I 
should prove to be mediocre in 
the role opposite Mr. Chaplin. 
then I would be stupid to talk 
of a future. If the public ac- 
cepts me as an actress after the 
picture is released, then they 

will be entitled to know whatever they wish to know 
about me. Until I have their opinion, I must remain 

Paulette Goddard is young, American and arrestingly 
lovely. Not with the loveliness of the Hollywood star who 
dazzles with her immediate and conventional brilliance, but 
with a permeating beauty 7 that never is dimmed by acquain- 
tance. Her hair, worn loose to her shoulders, is not dis- 
tinguished. It is a fairish brown, which blends into the 
sun-tan of her face. Her nose is slim and straight. Her 
mouth is wide and well-formed. In themselves, the features 
are by no means startling, or classical. And yet. in assembly, 
they contrive to give an impression of great beauty. Her 
body is youngly round, with not one ounce of superfluous 
flesh. She has great vitality— great strength. She gives 
the impression of a physical sturdiness, and with it a 
spiritual delicacy. She radiates vitality, enjoyment of life. 
She is well prepared to battle life on its own terms. 

What is she like — th 
Chaplin'? Now, at 

s girl who has won 
ast, it can be told! 

• In many respects, she is 
very like Charles Chaplin. 
the man who has discovered her 
and sponsored her. Perhaps in 
that fact lies the secret of their 
seem- [Continued on page 72] 


1/ Freddie 

Were King- 

A great interview with a great 
boy — who has ideas of his own 



F I were king and could do anything in the world I 
wanted — ?" Freddie Bartholomew cocked his curly head, 
considered the question for a moment, then took the bit 
between his teeth and pranced off. You would have thought, to 
hear him, that he had been cogitating the point for a month, so 
swiftly did his plans trip from his tongue. Perhaps he had, inas- 
much as he has just played a boy-king of a mythical Balkan king- 
dom, in Professional Soldier. But whether he ever had consid- 
ered the notion before or not (personally, I suspect he had not), 
there can be no question about his ability to handle with grace and 
good sense whatever comes along — be it elevation to movie star- 
dom or an imaginary throne. 

Since it would be folly to substitute any words for Freddie's. 
I'll give his story to you exactly as it tumbled from his lips, ad- 
dressed indiscriminately to me, his aunt Cis and his black-and- 
white spaniel, Concol — who needed a little roughhouse, which 
his master supplied expertly while talking. 

"If I were king — well, first of all, I'd get a hatterer for hats 
and a clotherer for ladies' clothes and set Cis loose. She wouldn't 
have to think about money at all, you see, but just pick and choose 
and hang it all up in her closet. Then I'd buy her a nice big 
mansion and give her a car or two. You'd like two, wouldn't you, 
Cis? — then you could send your friends scooting around when 
you were busy with me. And I'd 
like her to have croquet and clock- 
golf and [Continued on page 66] 



In Professional Soldier, 
Freddie is a king — an all- 
boy one. There he is, in 
full regalia, saluting you. 
At the near right, you see 
him with Prince, his pal in 
his next picture, Little 
Lord Fauntleroy. Freddie 
will see to it that the Little 
Lord is all-boy, too! 


Above, you see Margo as herself. 
Below, you see her with Warner 
Baxter in M-G-M's powerful pic- 
ture, Robin Hood of El Dorado. 
Their love is as unforgetable as it 
is tragic. Margo, in reality a high- 
born Mexican, plays a peon girl in 
early California who loves and weds 
a poor farmer (Baxter). When cold- 
blooded invaders kill her, Baxter 
turns bandit, seeking revenge — be- 
coming, to other peons, Robin 
Hood of El Dorado. 

It's Time 
You Knew 


This sensational young Mexican dancer 
is becoming one of the screen's 
most promising dramatic actresses! 



HO is this vivid, vivacious young dancer — this young and 
gifted dramatic actress — who is known only by the name of 
Margo? It's time you knew! 

Her full name is Margarite Bolado. As she pronounces it with a 
Spanish accent the name is charming. But she changed it to Margo 
because so many Americans found the pronunciation difficult. Margo, 
she felt, was a name that could not be mispronounced. 

She was born in Mexico City, of pure Spanish ancestry. Her father, 
who was a famous surgeon, died before her first birthday. He left 
her mother very well-to-do. 

By the time that Margo was five years old, she liked nothing so 
much as dancing. She told her mother and her uncle. Xavier Cugat 
(who leads an orchestra in Xew York's Waldorf-Astoria today) that 
she was going to be a dancer when she grew up. As the years passed, 
she did not relinquish the idea, though her mother frowned upon it. 
She wanted her daughter to become a surgeon — as a son might have. 

But the sight of blood sickens Margo. It was the sight of blood 
that made her a vegetarian, almost two years ago. She tells the story : 
"I had ordered a steak in my favorite restaurant, asking the waiter to 
hurry my order. He hurried, all right ! When I cut into the steak, it 
was raw. Looking at it. there on the plate, took away my appetite 
completely. Ugh ! I've never been able to touch meat since. Yet I 
know I should bave meat. Every dancer should." 

For years, even after it became evident that Margo would never 
be able to study surgery, her mother still was unwilling to sanction a 
dancing career for her. Especially, a professional career. Even the 
steps that the child performed to ever}- bit of music she heard, from 
hand organ to grand piano, elicited parental disapproval. 

But in her grandmother, Margo discovered a kindred spirit — one 
who encouraged the little girl and is still her greatest source of inspi- 

Because of ill health, Margo's grandmother was forced to leave 
Mexico. She went to New York City where, in a few months, Margo 
joined her. Meanwhile, the family had suffered reverses and, as Margo 
says, "were impossibly poor." Yet her grandmother would allow noth- 
ing to interfere with the child's dancing. Thus [Continued on page 82] 


Why Those 
Powell-Loy Marriages 

Are Happy ! 

When William Powell and Myrna Loy play 
husband and wife on the screen, the whole 
world enjoys watching them. And this story 
tells what makes them such an ideal match! 



a ^ W;//T yrna W 
y ylliam d_. I 


deas *bout t" 6w 


MYRNA LOY has shattered another old adage. 
"Three times a bridesmaid and never a bride" 
doesn't mean a thing to her. With Myrna, it's a 
question of "Three times a bride and never really 

For the third and, perhaps, the most spectacular time in 
their careers, William Powell and Myrna are Mr. and Mrs. 
again in The Great Ziegfeld. The first time moviegoers saw 


them together — as Nick and Nora in The Thin 
Man — they said, "Now th-ere's a perfectly mated 
couple." In fact, you may be one of the thousands 
who wrote in to Bill and Myrna, suggesting that 
they marry each other in real life and practically 
insisting that they remain married on the screen. With this 
encouragement, they went into Evelyn Prentice and sent 
the world into another furore of match-making. What will 
happen after The Great Ziegfeld, heaven only knows ! They 
have been so well married on the screen that if they don't 
follow through in private life, it will probably start talk! 
There is one thing that will doubtless please the movie- 
going match-makers : when Bill and Myrna are married 

Now, in "The Great 
Ziegfeld," Myrna and 
Bill are interpreting 
the happy marriage 
of a famous couple 
— Billie Burke and 
Florenz Ziegfeld — 
with Joan Holland as 
their daughter, 
Patricia Ziegfeld 

on the screen, they don't have to act as if they are fond of 
each other — they really are ! Yon ought to hear them go 
on ! 

Of course, there's one very important advantage that these 
two have — each gives the other credit for a grand sense of 
humor. Not that they go around playing practical jokes 
or constantly exchanging quips; they don't. Theirs is that 
quiet, restrained humor that is completely effortless. But. 
most important, they both have learned to use that gift for 
something else besides delightful comedy. When anything 
happens on the set, a difference of opinion on how to play 
a scene, for example, and it looks as though the situation 
is becoming a bit tense, Bill has developed an almost uncanny 
ability to turn the whole thing into a laugh — and to make 
all the others laugh even when they don't want to. He has 
won his point that way time and again. You can't be very 
firm with a guy when you're giggling, you know. 

• "One reason why Bill would be an ideal sort for a hus- 
band," Myrna was telling me the other day, "is that 
he has really learned how to live. Life with Bill would 
involve neither sloppy sentimentality nor annoying inde- 
dependence. The sense of humor that 
you've talked about is important, of 
course, but remember this — a sense 
of humor is valuable only when you 
can use it on yourself and understand 
how ridiculous you can be in various 
situations. Any nitwit can laugh at 
somebody else and then accuse him 
of having no sense of humor because 
he doesn't laugh, too. 

"Bill, for example, is never sar- 
castic. He has a fine understanding 
of the limits of a witty wisecrack and 
just when the words or inflection are 
about to shift into sarcasm." 

On the other side of the House of Powell-Loy, Bill doesn't 
let Myrna top him in the compliment-tossing. Not only 
does he emphasize that Myrna has a gorgeous sense of 
humor ; he adds that a sense of humor is rarer in women 
than it is in men, despite his suspicion — so help him ! — 
that women need a sense of humor in this world far more 
than men do. But more (far more) than just her sense 
of humor qualifies Myrna for the title of "a perfect wife." 

"It's a grand habit," he claims, "this being married to 
Myrna. Every picture we've played in together has been 
a pleasure, my dear sir, a pleasure! Myrna can project 
the ideal wife on the screen so well that even playing the 
part of the groom is a delightful experience. 

"From the very beginning, Myrna has had a sound under- 
standing of what an ideal wife should be, but I think she 
has learned still more from the three grand women she has 
played in The Thin Man, Evelyn Prentice and The Great 
Ziegfeld. Myrna isn't what some people call pretty, but 
she has subtle attraction and charm and natural vividness. 
As a matter of fact, Myrna would be a grand wife for any- 
body aside from the screen angle. She is intelligent and 
has a smoothly logical mind, but she never lets a man become 
conscious of the fact that she is a 
jump ahead of him. 

William Powell is not smooth-shaven 
like the late Great Glorifier, Florenz 
Ziegfeld, and Myrna Loy is not a 
carbon copy of Billie Burke. But in 
The Great Ziegfeld, they are com- 
pletely real, portraying the famous 
Ziegfeld-Burke marriage. Gathered 
around them in the ambitious picture 
are many of the former "Follies" 
favorites, helping to tell the dramatic 
story of the great showman's life. 
(P. S. Luise Rainer plays the first 
Mrs. Ziegfeld — actress Anna Held.) 

• "How she ever became such a 
perfect wife is beyond me — 
a problem I can't cope with. After 
years and years of playing courtesans 
and exotic ladieb who meant no good 
to anybody, she suddenly emerged 
into adult life as the paragon of the 
perfect wife. . . . But, perhaps, it's 
not so surprising. As The Other 
Woman in her early pictures, she 
learned all about 'misunderstood hus- 
bands'—so [Continued on page 80] 



is the 


It's easy to get a 
break, says Helen. 

What's hard is wait- 
ing for the right one 



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WHAT does an ambitious young actress think about 
when all the breaks don't develop as they might 
and stardom still is in the distant future? . • . Movie 
Classic decided to ask Helen Mack — ambitious, talented 
sincere, and not yet a star, though recently voted the most 
popular of all the younger Hollywood actresses in a Classic 
reader poll. 

"I'd rather play a tiny bit in a good picture than to be 
starred in just an ordinary program picture," says Helen, 
with an earnestness that could never be mistaken for irony. 

"The best work I've ever done on the screen has been in 
pictures that failed to attract any attention. That's why 
I was thrilled to have the opportunity to play with Harold 
Lloyd in his new picture, The Milky Way. A Harold Lloyd 
picture is sure to be good — and popular. While my role 
is not particularly important, I'll probably be seen by people 
who have never seen me before. And perhaps," she added, 
holding up a pair of crossed fingers, "it may turn out to 
be a springboard to something bigger. If it doesn't — well, 
at least Hollywood has taught me to be patient." 

And because patience is a sort of toi-glamorous virtue, 
which most girls are inclined to overlook, and because many 
a girl feels that if she could just get a "break," everything 
else would be easy, I am going to tell Helen Mack's unusual 

Her career began, actually, before she was born — when 
her mother, sitting in a little movie theatre in Rock Island, 
Illinois, watched such stars as Norma Talmadge and Mary 
Pickford and Marguerite Clark, and offered up a daily 
prayer that she would one day have a daughter who would 
grow up to be a movie star. It was more than just an 
idle wish. Mrs. McDougall poured her heart and soul into 
that prayer. And when eventually she gave birth to a tiny 
dark-eyed, dark-haired daughter with a heart-shaped face, 
she was convinced that her prayer had been answered. 

Long before Helen was old enough to understand her 
mother's words, she was told: "You are going to be an 
actress." When she was little more than a baby, she was 
taken to the movies several times a week. When they 
arrived home, she was put through a catechism that went 
something like this : "Tell Mother what Mary Pickford 
said . . . show me how she walked." Or if it was a Norma 
Talmadge picture, then Helen had to give an imitation of 

Crude training perhaps, but it bore results. By the time 
Helen was six, Mrs. McDougall was convinced that her 
daughter had talent. Her problem was : What to do about 
it? Where to go to get the child a hearing? 

Vera Gordon, that grand old actress of Humoresque 
fame, was playing in a local theatre. [Continued on page 84] 

Most people don't know that polo-playing is one of Leslie 
Howard's favorite sports. And most people don't know the 
things about him that this story reveals. In private life, he is 
a striking contrast to the character he plays in The Petrified 
Forest — a man who thinks he is tired of living. (And then 
he meets Bette Davis. And this time they both discover what 
great love is like — in a picture you aren't likely to forget.) 

By William Anthony 

LESLIE HOWARD is the suppressed desire of at least 
ten million women. Maybe fifty million. He has a 
i subtle something that other screen heroes lack — or 
did lack, until he appeared on the screen. He broke a rule 
and became something new in screen lovers. He made the 
caveman type of love-making look coarse, shallow and com- 
mon. Without any obvious effort, he could approach a 
delicate situation delicately, not demonstrating every roman- 
tic impulse he was supposed to feel, but giving every woman 
who saw him the sensation of seeing a man heart-breakinglv 
in love. 

Women wanted to know more about this sensitive, fine- 
featured, blond chap who spoke the King's English. And 
the very discovery that he was from far-off England gave 
him added allure. There are legends in America to the 
effect that every Englishman is a gentleman. And when one 
Englishman after another came to the American screen, 
and their love-making was in the Howard pattern, the sus- 
picion grew that Leslie must be the epitome of the typical 




the Rules 

He doesn't do things that Hollywood 
expect of stars. But he enjoys life! 

But in his latest picture, The Petrified Forest, he 
plays a modern American — a world-weary Easterner 
who has to wander all the way to Arizona to find a 
girl like Bette Davis and to live one of the strangest 
(and strongest) love stories ever filmed. Next lie is 
to play Romeo on the screen — to Norma Shearer's 
Juliet. And Romeo is not one specific kind of lover; 
he is a combination of all sensitive lovers, the world 
over, as long as the world lasts. So, obviously, Leslie 
can't be the typical Englishman. In fact, he denies 
that any such type exists. He probably wouldn't go 
out of his way to deny it, but put him on the spot and 
pin him down, as I did at a recent dressing-room 
luncheon, and he will deliver. 

He told me : "There is no such being as a typical 
Englishman. Or a typical American, either. I've 
played in every major town of the States, I think, but I've 
never yet met the chap that I could point to with pride and 
say, 'Ah! Eureka! The typical homo Americanns!' I've 
met the New England Yankee who would have drawn blood 
in Georgia, had he been proposed for the title of repre- 
senting the American male — and vice versa ! 

"Now we Britons," he continued, "are a singularly un- 
conventional lot, in a manner of speaking. We don't con- 
form to any pattern. We have as many distinct types as 
you'd find here. Moreover, our colonials are as different, 
say, from a Yorkshire man as a tabby cat differs from a 
cheetah. I suppose we're susceptible to the influence of 
whatever region we're living in. They've always been great 
colonizers, the British. Look at the 'English colony' in 
Hollywood !" 

• "By the way, what do you think of this town?" 

"Eh?" commented Mr. Howard as a great apathy de- 
scended upon him. Leslie Howard has a reputation here- 
abouts for wandering. Ele likes [Continued on page 86 1 


Una Merkel's 
Wardrobe Fits the 

So you buy your clothes 
on a budget? . . Take a 
few cips from Una — 
who proves that style 
doesn't cost big money ! 


UNA MERKEL (pronounced 
"You-na Mer'kl") is the per- 
fect prototype of the busi- 
ness girl. She has been five differ- 
ent kinds of secretaries on the 
screen, a student nurse, and a super- 
plus saleswoman, to mention just a 
few of her activities. And did you 
ever notice how appropriate, how 
utterly smart, her clothes were ? 

"Humph! I'm a business woman off the screen, too," 
she told me. "For years I've budgeted. When you start 
out in the theatrical business, you know, the first thing you 
learn is to put up the best possible 'front' for the least possi- 
ble money. To help along the good work, I always did my 
shopping on paper before I did it on foot. T still do that. It 


Left, Una Merkel in her 
tweed - skirt - and - plaid - 
blouse outfit. Above, her 
preference in evening 
gowns — "black lace with 
a touch of pink or two" 

saves me from buying things I don't need and things that 
don't dovetail in with the rest of my clothes. I write down 
what I want and the colors I'd like to get. Then I follow 
the list as closely as I can . . ." 

"Suppose you were charting a new wardrobe for that 
cute little secretary you played in Broadway Melody of 


Starting at the left above and proceeding in a clockwise direc- 
tion, you see Una Merkel in her black coat-dress (ultra-svelte!) 
... in her snug, "everyday" coat, fox-trimmed ... in her gold- 
flecked black crepe, simple enough for daytime, chic enough 
for a dinner date . . . and in her smartly tailored blue suit 

1936," I suggested. "How would you go about it?" 

And then Una did settle down to business ! There's a 
good deal besides fun in that pretty head of hers. She wrote : 
Coat. $25.00 . . . Tailored Dress, $14.75 . . . Dressier-type 
frock, $16.50 . . . Semi-sport outfit, $12.00 . . . Suit, $20.00 
. . . Evening dress, $18.00 . . . Evening wrap. $15.00. 

"Naturally, the purchase of these items would be stretched 
over a long period of time," she observed. "And several 
will last for a long time. Both the suit and coat can be worn 
for three or four years if you get the right kind. And the 
evening wrap has an indefinite life. 

"These prices I have set down can be bettered consider- 
ably at times, especially if you are a clever end-of-the-season 
buyer and can pick up some things at half-price, during the 
sales, that will be just as good next year. A coat, for 
instance. A smart coat is absolutely the backbone of a girl's 
wardrobe. That's why T put it first on the list. 

"What color? Well, I'm partial to black — because it 
harmonizes with so many things. Right now, "I have a 
heavy black wool, trimmed with fox fur . . . But soon I'll be 
scouting around for a lighter coat, and I think it will be 
one of those new tweedy mixtures — maybe a gray-and-black 
or a brown-and-beige: If I could get a swanky three-piece 
ensemble — suit and topcoat to match — for just a weeny bit 
more money, why I'd jump at it ! Then I'd get a couple of 
frocks in blending colors so that they would form other 
costumes with the coat. 

"If I bought the gray-and-black coat," continued Una, 
warming to her subject, "I'd [Continued on page 88] 


Win a Trip 


By Knitting Something 
New For Yourself! 

Wouldn't you like to dress as attractively as a movie star? Here is 
your chance. And your chance to win a free trip to the movie capital ! 

YOU never had an opportunity like this before! By 
following a few simple knitting instructions, you can 
dress like a movie star ! And, at the same time, you 
may win a free trip to Hollywood, the capital of glamor! 

TWO women in America are going to win trips to Holly- 
wood in this contest — one by railroad, one by air. And 
one of these winners can be vou ! 

MOVIE CLASSIC— in 'conjunction with MOTION 
PICTURE Magazine. Warner Brothers-First National 
Pictures, and the manufacturers of Fleisher, Bear Brand 
and Bucilla yarns — gives you this chance of a lifetime. 

All that you have to do to be eligible for a free trip to 
Hollywood is to knit, for yourself, an attractive garment 
modeled by a famous Warner Brothers or First National 
star. On the opposite page are three samples of new. hand- 

knit, star stvles. Wouldn't vou like to have one of them ? 

ting Instruction Book — first such book ever to feature styles 
worn by movie stars — you will find the directions for knit- 
ting each of these three dresses. And twenty other gar- 
ments. This book may be obtained at any store selling 
Fleisher, Bear Brand or Bucilla yarns. 

You will want to knit one of the styles, whether you think 
you will enter the contest or not. But once you start knit- 
ting, you will want to enter. 

You do not have to be a fast knitter or even an expert 
knitter to compete. If yon take pride in knitting carefully 
and well, you stand a good chance of winning a free trip 
to Hollyivood! 

The prizes and rules are listed below. 


The sponsors of this great nationwide knitting contest offer 
these fourteen valuable prizes: (1) One railroad trip, with all 
expenses paid, to Hollywood and return; (2) one airplane trip 
from New York to Hollywood, or Hollywood to New York, 
value #288; (3) Mendoza beaver coat, value #100; (4) 
Tavanne wrist watch, value #100; (5) one year's supply of 
shoes (A. C. Lawrence), value #75; (6) one hand-hooked rug 
(Fleisher), value #75; (7) one hand-made Afghan (Bern- 
hard-Ulmann Co.), value #75; (8) and (9) one year's supply 
of Mojud Clari-phane silk stockings — each supply valued at 
#54; (10) one year's supply of Lentheric Perfume and Cos- 
metics, value #50.70; (11) evening ensemble of Coro Pearls 
(Cohn and Rosenberg), consisting of necklace and bracelet to 
match, value #50; (12) one year's supply of Maiden Form 
brassieres and girdles, value #50; (13) one Gruen wrist watch, 
value #50; (14) one year's supply of Corday perfume (Voy- 
age a Paris), value #32.50. 


1. To compete in this contest, you may knit any garment 
pictured on the opposite page or in the MOTION PICTURE- 
MOVIE CLASSIC Knitting Instruction Book. 

2. This instruction book may be obtained in any depart- 
ment store selling Heisher, Bear Brand or Bucilla yarns. The 
price of the book is 25c. 

3. The contest opens February 1, 1936, and closes May 
1, 1936. 

4. The garment that you knit will be your entry in the 
contest — and it will be judged solely for quality of workman- 
ship, by the nationally famous women named below. 

5. The prizes will be as listed at left. 

6. At any time between April 1 and May 1, 1936, wrap 
your entry carefully and mail it parcel post, insured, to Knit- 
ting Contest Editor, 20-22 Greene St., New York. City, enclosing 
stamps for its return to you by parcel post, insured. Every 
dress will be returned. The sponsors of this contest will not be 
held liable in case of loss or damage to the garment submitted, 
but will take every reasonable precaution to return it safely. 

7. All entries must be accompanied by all the bands from 
Fleisher, Bear Brand or Bucilla yarns used in knitting your 
garment, or by facsimiles of the bands. 

8. Before sending your garment as an entry in the contest, 
you must reserve space for it by mailing the application blank 

(or facsimile) on page 47. This does not obligate you to send 
a garment later. It merely reserves space for your garment, if 
you do send one. 

9. In case of ties, duplicate prizes will be awarded. 

10. Among the judges are: Mrs. James Roosevelt, the 
President's mother, Grand Duchess Marie, Tobe, fashion 
authority, Miss Winifred Ovitte, fashion authority, and Mrs. 
William W. Hoppin, society leader. Their decision will be 

11. This contest is open to everyone except employees, or 
relatives of employees, of Motion Picture Publications, Inc., 
Fawcett Publications, Inc., Warner Brothers-First National Pic- 
tures, and the manufacturers of Fleisher, Bear Brand and 
Bucilla yarns. 


e 't>OHr»e 

I. You can be just as attractive as Olivia de Havilland. 
■featured in Anthony Adverse," if you have as charming a 
hand-knit ensemble as hers. Cleverly designed, it has trim, 
simple lines. The dress is knitted of Fleisher's Cassimere 
Sport Yarn- the smart scarf, of Fleisher's French Zephyr 

2. Patricia Ellis, now playing in "Snowed Under, ' owns 
a hand-knit dress that you can copy exactly — and easily. 
It is two-piece, features the new "windbreaker" type of 
jacket blouse, and has a scarf in contrasting colors. It 
is made of Fleisher's Shetland Floss, on a circular needle 

3. Marie Wilson, who is featured in "Men on Her Mind," 
also has style on her mind — as every smart young modern 
should have. And her one-piece hand-knit dress, with 
simulated pleats and panels, is the last word in 1936 
knitwear fashion. It is made of Fleisher's Twinkle Crepe 

Application Blank 

Knitting Contest Editor 
20-22 Greene Street 
New York City 

I would like you to know that your knitting contest interests me and that I am 
likely to submit an entry. In case I do. I wish you would reserve space for my 
entry — putting me under no obligation in any way, whether I try for a trip to 
Hollywood or not. 

Name - 









Anya Taranda, who appears with Eddie 
Cantor in "Strike Me Pink,'' wears two 
attractive new models designed by 
Lettie Lee. The street ensemble is of 
blue sheer crepe with white pique 
vesteed frock and knee-length jacket. 
The cocktail dress is of navy blue sheer 
crepe. It is buttoned high to the neck, 
belted trimly at the waistline, and 
smartly adorned with white pique collar 
and cuffs. Both the suit and frock worn 
by Miss Taranda may be purchased in 
leading department stores in many lead- 
ing cities. (On page 59, you will find list 
of stores carrying Lettie Lee Fashions.) 

Lettie Lee 
at work 

Lettie Lee, young, blonde and vivacious, 
is something new in success stories. Not 
only does she design clothes for Republic 
Pictures and individual Hollywood stars, 
but owns and directs a dress manufactur- 
ing concern, and is soon to appear in a 
weekly fashion newsreel. (Fashion-Cine 
News.) You see two of her latest designs 
on this page. Note that they are glam- 
orous in the movie manner, yet simple 
and practical — the sort of clothes that 
every American girl can wear effectively. 



ir a c 1 e 




to Richard i 


He can say today that he has 
found the right girl at last 
— the girl he once said he 
would meet only by a miracle! 

Richard Dix and The Right Girl 
— the former Virginia Webster 

By Dorothy Calhoun 

DO YOU remember when Richard Dix was known 
as Hollywood's "perennial bachelor"? And why? 
. . . He once said to me: "What chance has an 
actor to meet a sweet, home-loving, practical sort of girl 
such as a man wants to marry? The only women I 
know are crazy about acting or else women who are 
crazy about actors. I'll never marry either type, and I'll 
never have a chance to know the kind of girl I want for 
a wife. The glamor that envelops an actor spoils his 
chance for simple human relationships. As Ernest 
Brimmer of Minneapolis, I might have met The Right 

Girl ; as Richard Dix of 
Hollywood, I can't. 
I'm not a born bache- 
lor, but unless a miracle 
happens, I'll stay one 
till the end of my days." 
In 1931, he "thought 
that he had found The 
Right Girl, and threw 
his cynicism overboard. 
Her name was Wini- 
fred Coe ; she was a 
San Francisco debu- 
tante ; and in October 
of that year they were 
married. In June, 1933, 

Once a "perennial bach- 
elor," Richard Dix still 
is a perennial screen 
hero. His newest picture, 
Mother Lode, finds him in 
the hills of Arizona, re- 
living the gold-rush days. 
It isn't another epic of 
the early West as Cimar- 
ron was, but it offers ex- 
citing entertainment. 

they were divorced, after months of separation — and 
Hollywood suspected Richard Dix of being more the 
cynic than ever. But in June, 1934, the onetime "peren- 
nial bachelor" again eloped — -again with a girl whose 
name was unfamiliar to Hollywood. The name was 
Virginia Webster. And not only are they still married, 
but Richard Dix says : 

"Yes, a miracle did happen to me. I have found hap- 
piness for the first time in my life. If this marriage 
doesn't last, then nothing can last in heaven or on earth. 
... In 1933, after my divorce, I put all thoughts of 
another marriage away from me. I said to myself, 
'Rich, you're going alone to the end of the chapter.' But 
now — the only shadow there is over my happiness is the 
thought that something might happen to Virginia or one 
of the children." 

(He has a small daughter by his first wife, twin sons 
by his second. ) 

THERE is nothing of the pomaded movie sheik about 
this big, broad-shouldered Middle Westerner with 
a comfortable, average American background behind him. 
Yet women always have been mad about Richard Dix. 
Ripley is welcome to this information : Dix has prob- 
ably received more sentimental fan letters than any 
romantic screen lover except Valentino. One lovelorn 
maiden who had never met him {Continued on page 74] 




found excLusLvetif 



Sanitary Jjeits 

Adjusts in an instant — is 
permanently secure — you'll 
appreciate its marvelous con- 
venience. This "Marvelox" 
grip, found only on Hickory 
Sanitary Belts, is tiny, light- 
weight, without bulk, unob- 

The easy stretch Lastex web- 
bing, too, is a revelation in 
comfort. Gently hugs the fig- 
ure — won't bind or slip. Ask 
for "Marvelox" at your favor- 
ite notions counter. Lastex 
styles 50c. Other styles 25c. 

H your dealer hasn't "Marvelox" send us his 
name with your remittance and we will 
supply you. Specify Small, Medium or Large 
size. Address 1143 West Congress Street, 
Chicago, Illinois 





Get Your 

of Norma Shearer 
as Juliet 

Just Answer Ten Interesting Questions— 
and You May Win a Cash Prize, Too! 

© On page 28 of this issue, you see the first full-length portrait of Norma 
Shearer as Juliet, in her newest, most ambitious and long-awaited picture, 
Romeo and Juliet. Now Movie Classic — and Movie Classic alone — offers 
you the chance to obtain, free, an exclusive close-up photograph of Norma 
as Juliet ... an 8" by 10" photograph suitable for framing ! 

This offer is made possible by the cooperation of Metro-Goldwyn-Mayer 
Studios. You cannot buy this photograph from Metro-Goldwyn-Mayer, from 
Movie Classic, or from any other source. But you may obtain it free simply 
by entering this third Movie Classic Questionnaire Contest. . . . And you 
may win a cash prize, in addition, with your answer to Question 10 ! The 
cash prizes are: (1) $25.00; (2) $10.00; (3) $5.00. And each of the ten 
next-best titles will win one dollar apiece. What's your idea for a title? 

We want to know what you like about Movie Classic — and we take this 
way of finding out. An interesting way for both of us ! 

These are the simple rules: (1) Your entry must be addressed to Contest 
Editor, Movie Classic, 1501 Broadway, New York City— submitted on 
coupon below, or facsimile — and accompanied by a three-cent stamp, to de- 
fray mailing costs and clerical expenses in sending the Norma Shearer 
photograph. The photograph, itself, costs you nothing. (2) Entries must be 
in our office not later than February 20, 1936. (3) All entries, to be eligible, 
must have answers to all ten questions. (4) The decision of the judges — 
the editors of Movie Classic — will be final. (5) In case of ties, duplicate 
prizes will be awarded. (6) This contest is open to everyone except em- 
p'oyees, or relatives of employees, of Motion Picture Publications, Inc. and 
Metro-Goldwyn-Mayer Studios and affiliates. 

Winners will be announced in May Movie Classic. 

1. What is your name ? 

2. Your full address? 

3. In what picture have you liked Norma Shearer most? 

4. What led you to buy this issue of Movie Classic? 

5. Did the cover portrait influence your purchase? 

6. What three features do you like best in this issue? 

7. What three photographs? 

8. Who are your five favorite feminine players? 

9. Your five favorite masculine players ? '.... . 

10. What title would you suggest for an exclusive Movie Classic story about 
one of them? 

CUp. and Mail h 

Contest Editor • Movie Classic, • . 1501 Broadway • New York City 


Movie Classic for March, 1936 


by clearing skin irritants 
out of the blood 

Copyright, 1936, Standard Brands Incorporated 

Don't let Adolescent Pimples 
keep YOUR boy friend away 

PIMPLES are all too common in the 
years that follow the beginning of 
adolescence — from about 13 to the age of 
25, or even longer. Important glands de- 
velop and final growth takes place during 
this time . This causes disturbances through- 
out the body. The skin becomes over- 
sensitive. Waste poisons in the blood 
irritate this sensitive skin, causing pimples. 
Clear up these adolescent pimples— with 
Fleischmann's Yeast. This fresh yeast 
clears the skin irritants out of your blood. 
Pimples go. Your skin is fresh and smooth 
again . . . 

Eat Fleischmann's Yeast 3 times a day, 
before meals — plain, or in a little water — 
until your skin clears. Start today ! 

Movie Classic for March, 1936 




• Ugly nose shine! Dirty yawning pores! 
Floury streaks ! Don't tolerate them. Combat 
"conspicuous nose" trouble once and for all. 
Change to Luxor, the face powder that 6,000,- 
000 women use to combat skin-moisture. 

Because every face gives off skin moisture. 
That's a natural function of the skin, espe- 
cially around the nose where glands are highly 
active and where skin moisture waits in each 
pore opening to mix with face powder. To 
cause shine, to clog pores, to make floury 
blotches— to make your nose conspicuous. 

So change at once to Luxor. It's so mois- 
ture-proof that it won't even mix with water 
in a glass. Try it and see for yourself. Then 
try it on your face. Notice the fine moisture- 
proof protection it gives the skin -effective, 
attractive, lasting. 

Luxor's many smart new shades are flatter- 
ing with a natural effect. They are carefully 
blended to enhance skin tones. Luxor powder 
bears the Seal of Good Housekeeping because 
it is so pure and does everything we say. 

Insist on Luxor by name and get 

FREE! 2 drams of French perfume 

A generous flacon of La Richesse, a smart new intrigu- 
ing fragrance. An enchanting gift to win new friends 
for Luxor. Powder and perfume together for 55c, the 
price of Luxor powder alone. Insist on Luxor. 

Coupon brings 4- piece make-up kit! 

Iuxor, Ltd., 1335 W. 31st Street 
Chicago, Illinois H - 3 

Please send me your 4-piece make- 
up kit including generous amount of 
Iuxor Moisture-Proof Powder, Lux- 
or Rouge, Luxor Special Formula 
Cream and Luxor Hand Cream. Here 
is 10c to help cover mailing. ( Offer 
not good in Canada). Check, 
Try Amazing Powder : Rose Rachel □ Rachel D 

New Luxor Flesh D 

Hand Cream ROUGE: Radiant D Medium □ 

Sunglowd Pastel D 

Thig marvelous yivid D RoseblushO 

new skin softener -y^ .T*"" 

keeps hands soft. „ T 

white, smooth. It Name 

is guaranteed non- ,, 

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instantly. At all 

cosmetic counters. City 

They are the secrets of an outdoor girl 

By &L<urr~ $Uo^ 


HELEN VINSON, star of G-B's King 
of the Damned, uses cosmetics — and 
uses them beautifully — despite the 
fact that she is the only actress yet found 
who does not need make-up when being 
photographed in color. Her beauty secrets 
should be worth knowing ! 

"Simplicity is the keynote to good taste," 
Helen told me, when I asked her about 
those secrets. "The more natural the make- 
up—the more beautiful the girl." 

Helen, whose skin is amazingly fair, was 
wearing a delicate peach-color powder, plus 
a suspicion of rose-petal rouge, the day I 
interviewed her. 

"My weakness is iridescent eyeshadow," 
she told me. "I use blue-green with silver 
flecks, or rose lavender with bronze flecks, 
depending on the color of my frock." 

She likes the brightness this gives her 
dark-brown eyes. Dark carnation-red lip- 
stick is her final salute to color when she is 
dressing for the cocktail hour or a dinner 

Helen's beautiful complexion showed no 
signs of exposure to the cold weather. She 
explained, with a smile, "Since the first of 
the winter, I've been using extra-rich 
creams and lotions generously. Girls need 
no longer fret about chapped skin as their 
grandmothers did — or be afraid that cold 
winds will play havoc with their complex- 
ions. Extra dabs of cream before going out, 
and generous applications before going to 
bed, will keep the skin smooth, soft and 

To have a clear complexion, Helen also 
advises the use of soap and water and a 
good complexion brush, followed by a deep- 
pore cleansing cream. Night and morning, 
she uses a rich tissue cream. In the morn- 
ing, this is used as her powder base — to give 
her skin added protection. 

Her hands are as smooth and lovely as 
her face. "With the large number of perfect 

Movie Classic for March, 1936 

hand lotions that are available today, there 
isn't any excuse for hands that are red and 
chapped," she continued. "I use my hand 
lotion immediately after washing my hands. 
And I never venture outdoors on cold, 
windy days without gloves." 

Helen's beautiful golden-blonde hair, 
parted on one side, falls in soft, natural 
waves about her face. 

"The hair should be kept loose," she told 
me, "to give the scalp a chance to breathe. 
I brush my hair twice a day — and frequently 
massage my scalp with my fingertips. When 
I shampoo my hair, I use a small brush — 
and scrub vigorously to stimulate circula- 

One of the most attractive things about 
Helen is her healthful buoyancy. And the 
secret of such buoyancy is proper diet, exer- 
cise and relaxation. She is fond of horse- 
back-riding, and indulges in several other 
active outdoor sports, including tennis, golf 
and swimming. 

Like most athletic types, Helen has a 
flair for tailored clothes and capitalizes on 
it. Her color choice is black and white — 
and brown and white — for daytime wear. 
For evening, she favors black or white — 
but often you will find her looking glamor- 
ously "mysterious" in the new warm shades 
of red. 

Helen, you'll remember, recently married 
one of the most popular men alive — Fred 
Perry, the handsome English tennis cham- 
pion. And many of the girls who had to 
"take a back seat" wondered how she did it ! 
Well, perhaps we would all do well to listen 
to a few of Helen's beauty hints — and learn 
to be as charming and lovely as she is. 

She says that girls in business should give 
an impression of efficiency and self-reliance. 
Her advice is : "See that your hair looks 
not only trim but lustrous and healthy. 
See that your make-up looks natural — not 
gaudy or artificial. Then forget your hair 

and face and attend to your work. Be as 
good-looking and as alert and keen at your 
position as you can. But, remember that 
chorus girl make-up is not alluring in an 
office or anywhere else except the stage. 
And a girl who wears conspicuous clothes 
is not smartlv dressed !" 

HELEN believes that if a girl can answer 
ten beauty questions, she is up on her 
beauty secrets. These are the questions : 

1. Do you give your complexion the prop- 
er care during the cold winter weather ? 

2. Do you know when to use creams and 
lotions — and what kinds to use? 

3. Do you know the correct method for 
massaging creams into your skin? 

4. Do you give your hands and nails 
special attention? 

5. Do you know the distinction between 
daytime and evening make-up? 

6. Do you know how to make up your 
most important feature — your eyes? . 

7. Do you know how and where to apply 
your rouge and lipstick? 

8. Do you give your hair the attention if 
should receive? 

9. Do you keep your teeth sparkling 

10. Do you get your share of exercise 
in the open air ? 


THAT look of cleanness and freshness 
that we all like — and all strive for — is 
something, fortunately, that we all can 
achieve. There are dozens of little things 
that help to make a face attractive. (Four 
are pictured on page 58.) 

One of them is having a clean, clear skin. 
Lux Toilet Soap is one of the most popular 
cleansing agents on the market today — and 
a favorite of movie stars. It is gentle and 
effective. Its fragrant, rich creamy lather, 
massaged into your pores, will keep your 
skin fresh and lovely. Ten cents a cake. 

Even with the best daily care, your face 
at times persists in looking tired and dull. 
Often this happens just when you want to 
be most radiant. Then is the time to use 
Campana Dreskin, the original skin invig- 
orator. Dreskin is also recommended as a 
pore-reducer — and a body freshener after 
the bath. Fifty cents for a large bottle. 

Chamberlain's Hand Lotion is a clear, 
quick-drying liquid that soothes, freshens 
and revives dry, rough hands. I recommend 
that you use it faithfully before going out- 
doors and when you return — also after 
housework, or whenever your hands have 
been in water. A little is sufficient. It pene- 
trates almost instantly — and does not" leave 
your hands sticky. (The price is fifty cents 
for a generous supply.) 

The beauty of Pond's Cold Cream lies in 
its protection against wind and roughness. 
It cleanses, softens and lubricates. I sug- 
gest that you use it to guard against dry- 
ness and creeping, insidious wrinkles. Use 
it to keep your skin satiny so that your 
make-up will stay on longer. (Only sixty 
cents for a 5% oz jar.) 

Washing your own hair will be a far 
simpler and less sodden matter if you use 
Drcne, the new shampoo recently intro- 
duced by Procter and Gamble. After you 
use this shampoo, your hair will glow with 
cleanliness, and your wave will be soft and 
natural. A large bottle is sixty cents. 

To simplify home care of the hands. Bar- 
bara Bates has introduced the Basic Mani- 
cure — the answer to women's pleas that 
something be done about their brittle, split- 
ting and peeling nails. A most attractive 
and compact Barbara Bates Set in magenta 
and silver is now available at $2.75. It con- 
tains a crystalite manicure stick, smoothie, 
zephyr nail file, professional manicure buf- 
fer, nail polish cream and cuticle cream. 


• . . until she took 
her dentist's advice 


Movie Classic for March, 1936 


: jj£*i 

"I know now why HOLD -BOBS 
are accepted by Hollywood. 
The movie camera "picks up" 
those straggly ends that mar 
an otherwise perfect picture," 
says charming Ruth Martin 
Chrastka of Chicago. 

Miss Chrastka was given a screen test 
recently, in the nation-wide Search for 
Talent sponsored by Universal Pictures, 

^. hold-bob Bob Pins, Motion Picture 

w and Screen Play. 

An attractive, well-groomed hairdress is just 
as important to a movie star as her make- 
up or clothes. That is why HOLD-BOBS have 
been chosen by Hollywood as the only bob 
pin that will keep their hairdress lovely 
at all times. 

You, too, can have the lovely, well-groomed 
coiffure of the movie stars by using hold- 
bobs — the only bob pin with these exclu- 
sive, patented features: small, round, invis- 
ible heads that cannot show in the hair, 
smooth, round points that cannot scratch 
the scalp, flexible tapered legs, one side 
crimped, which hold the hair securely in 
place. And — only hold-bobs come in all 
colors to match every shade of hair. 

Look for the name hold-bobs. It is your 
assurance that your coiffure will be lovely 
always. Try hold-bobs today. 

Final winners of the Search for Talent 
will be announced shortly. 


Sol H. Goldberg, Pres. 

1918-36 Prairie Avenue, Dept. F-36 
Chicago, Illinois 

Straight Style HOLD BOB 





HOLD-BOBS are available 
everywhere ... they're easily 
identified by the Gold and 
Silver Metal Foil Cards. 
Also sold under the brand 
name of BOB-ETTES. 

Fashions for 

— With the Accent on YOU 

Modeled by Gail Patrick and Florence Ri 



Copyright 1936, by The Hump Hairpin Mfg. Company 


883. Gail Patrick, young Paramount 
player, has a "prelude to Spring" in 
her wardrobe in this clever shirtmaker 
frock, with smart tailored lines and in- 
teresting details. Gail's dress is of gold 
sheer wool, but would be equally 
smart in plain or printed crepe. And, 
later, the same pattern might be used 
for summer fabrics, with short sleeves. 
Designed for sizes 14, 16 and 18 years; 
36, 38 and 40-inch bust. Pattern, 25c. 

ly styled in every detail — are easy to 
use (with complete, clear instructions) 
— and are accurately cut, insuring per- 
fect lines. They are obtainable at any 
store selling "Screen Star Patterns." Or 
you may order from us directly by using 
coupon on the opposite page. 

Movie Classic for March, 1936 


878. Florence Rice, young Columbia 
player who appears in "Escape from 
Devil's Island," models this stunning, 
simple-to-sew frock of blue silk crepe, 
with a stand-up collar and a double 
row of metallic buttons giving it the 
military dash that is so popular. This 
dress would be equally charming in 
crepe silk print — a necessity for Spring. 
Designed for sizes 14, 16 and 18 years; 
36, 38 and 40-inch bust. Pattern, 25c. 

MOVIE CLASSIC'S Pattern Service, 
Fawcett Bldg., Greenwich, Conn. 

For the enclosed cents, please send 

me Florence Rice Pattern No. 878 — Gail Patrick 
Pattern No. 883 (circle style desired). 

Size Bust 


Street _ 

City .... 

Patterns, 25c each 

Canadian readers may order bv mailing coupon to 
MOVIE CLASSIC'S Pattern 'Service, 133 Jarvis 
St., Toronto, Canada. 


Largest Pores on Your Body— 
A Test of Your Cleansing Methods! 

The pores on the nose are the largest on your body. For this reason, 
ft* if allowed to become clogged with waxy excretions, they will become 
conspicuously large and noticeable. 

The pores on your nose, therefore, are a good test of your skin- 

%. cleansing methods. If the pores are plugged with waste matter 

ilk and gaping large, it's a sign your methods are insufficient. 

*f\ By keeping your pores — and this includes the pores of your 

f\ nose — thoroughly clean, you can keep them normal in size, 

invisibly small. 

A Penetrating Cream Required 

To get at the dirt and waxy matter that accumulates in 

J3 your pores, you must use a face cream that penetrates, 

one that actually works its way into the pores. Such 

*^ a cream is Lady Esther Face Cream. It does not 

merely lie on the surface of your skin. It actually 

penetrates the pores, and does it in a gentle and 

soothing manner. 

Penetrating the pores, Lady Esther Face 
Cream goes to work on the imbedded 
<%> dirt and waste matter. It dissolves it 
\ — breaks it up — and makes it easily 
«Sk removable. In a fraction of the 
% usual time, your skin is thor- 
oughly clean. 

Cleansed perfectly, your 
pores can again function freely 
— open and close as Nature in- 
tended. Automatically then, they 
reduce themselves to their normal small 
size and you no longer have anything 
like conspicuous pores. 

Lubrication, Also 

As Lady Esther Face Cream cleanses 
the skin, it also lubricates it. It re- 
supplies it with a fine oil that over- 
comes dryness and keeps the skin 
soft and smooth. 

Make a test on your face of Lady 
\ Esther Face Cream. See for your- 
self how thoroughly it cleans out 
the pores. Mark how quickly 
| your pores come down in size 
when relieved of their choking 
burden. Note the new life and 
y smoothness your skin takes on, 
V One test will tell you volumes. 

See For Yourself ! 

All first-class drug and department stores sell 
Lady Esther Face Cream, but a 7- days' supply is free for 
the asking. Just mail the coupon below or a penny postcard and by re- 
turn mail you'll receive the cream — PLUS all five shades of my exquisite Lady 
Esther Face Powder. Write today. 


{You can paste this on a penny postcard) (21) 

Lady Esther, 2030 Ridge Avenue, Evanston, Illinois. 

Please send me by return mail your 7- days' supply of Lady Esther Four-Purpose 
Face Cream; also all five shades of your Face Powder. 

Name ■ . 

A ddress 

Ci ty- — — Sta te 

{If you live in Canada, write Lady Esther, Ltd., Toronto, Onl.) 

Movie Classic for March, 1936 






Maybelline eye beautv 
aids have been the choice 
of fastidious women 
the world over \ 
for more than 18 V 9 
years. From chic 
Paris to smart New- 1 
port, these pure and i 
harmless cosmetics 
may be found on the 
dressing tables of the most 
exquisitely groomed 
women. Thename May- 

belline is synonymous J 
with highest quality and JtM 
absolute purity. To insist ,& 

on MAYBELLINEistobe 

definitely assured of 

eye beauty at its 

best. All Maybelline 

eye beauty aids are obtainable 

at leading ten cent stores. 

Mascara is 
prepared in 

All Maybelline 

preparations have 

this approval. 

Are you worried about winter skin? Discover these beauty aids — 
(I) Pond's Cold Cream, (2) Chamberlain's Lotion, (3) Dreskin, (4) 
Lux Toilet Soap. Alison Alden describes them on page 55 

Let's Talk about STARS! 

[Continued from page 11] 


recent trip East that they left their new 
bags, containing most of their clothes, on 
the train platform in Los Angeles, and 
friends had to air-express them to the 
Flynns en route . . . 

Mae West is entirely within her rights 
and privileges if she chooses to change her 
mind. Her second picture zvas called I'm 
No Angel and was really a subtle challenge 
to the censors. Her current picture Klon- 
dike Annie reveals Mae as an "angel." In 
any event, she tries to be one, for one se- 
quence shozvs Mae in an evangelist's uni- 
form, pleading to a group of miners out- 
side a saloon in the Yukon to moid their 
ivays and cleanse their souls of sin. You'll 
like it! 

© Last year, the racing season at the fa- 
mous Santa Anita track caught the film 
colony off-guard with the socialite horse- 
owners from New York, Palm Beach, New- 
port and way stations shunting the film 
folks to the background. But not this sea- 
son. The film folks have moved right in, 
trotted out some gorgeous fashions, thrown 
some swell parties, entertained lavishly and 
crowned it all with one of their famous 
Mayfair dances, staged right in the beau- 
tiful clubhouse at the Santa Anita track 
— and the film players and the socialites 
have become well acquainted. 

The film star who has the largest racing 
stable is Bing Crosby. B big's racing col- 
ors are blue and gold — suggested, of course, 
by one of his greatest song successes. 
"When the Blue of the Night Meets the 
Gold of the Day." And Bing has a sense 
of humor about his hobby, for he calls one 
of his horses "Double Trouble" — a name, 
he says, suggested by his twin boys. 

• One good and sufficient reason why you 
don't see Charles Farrell in more pictures 
is because he is only mildly interested in 
screen offers. Charlie, with that inherited 
Cape Cod thrift, is making plenty with his 
several business enterprises. This winter, 
they include his famous Racquet and Ten- 
nis Club at Palm Springs, filmland's desert 
playground ; his unique cocktail bar at the 
same resort; his profitable business of 
breeding and selling polo ponies and, of 

course, the profits from several wisely se- 
lected investments. 

So far this season, the swankiest Fash- 
ion Show at Palm Springs, and for char- 
ity, has been that presented by Bebe Dan- 
iels. Every gown in the fashion parade 
was a product of Bcbe's own gown shop, 
which occupies four floors of space for 
workrooms in downtown Los Angeles. 

• Confusion is rampant in Hollywood. 
One story has it that George Brent has 
purchased additional acreage at his coun- 
try estate and is to build a more pretentious 
home "when he takes Garbo to the altar." 
Conversely, a realtor who has selected 
many homes for picture stars, has been 
trying to find a place that would make a 
suitable home for Garbo. Garbo has com- 
missioned him to buy such a home, whereas 
previously she leased. What do you make 
of that, Watson? 

Exotic, plus! That's what the actress 
for the role of Neleta in Warner 
Brothers' picture, Anthony Ad- 
verse, had to be. Steffi Duna is! 


Movie Classic for March, 1936 



Good Stores 
to Know! 

• On page 50, we told you about clever 
Lettie Lee, who has been so successful in 
designing for Hollywood that now her 
creations may be obtained throughout the 
United States. Lettie Lee Fashions are on 
sale in these cities, and in these leading 
stores — one of which must be near you: 

Atlanta, Ga., Leon Frohsin 
Abilene, Tex., Ernest Grissom, Inc. 
Asheville, N. C, Jean West Ladies' Shop 
Austin, Tex., Marie Antoinette Shop 
Amarillo, Texas, Marison Co. 
Baltimore, Md., Jeanette Beck 
Birmingham, Ala., Burger Phillips Co. 
Billings, Mont., Doyle's 
Baton Rouge, La., Ellzey Shop 
Beaumont, Texas, The Fashion 
Boston, Mass., Jordan Marsh Co. 
Cleveland, Ohio, The Halle Bros. 
Cincinnati, Ohio, Jenny, Inc. 
Chicago, 111., Mandel Bros. 
Chattanooga, Tenn., Pickett's, Inc. 
Charleston, W. Va., The Vogue 
Denver, Colo., Denver Dry Goods 
Daytona Beach, Fla. , Irwin's 
Dallas, Tex., Titche Goettinger 
Des Moines, la.. Wolf's, Inc. 
Detroit, Mich., Turtle & Clark 
Enid. Okla.. Klein's, Inc. 
El Paso, Tex., Popular Dry Goods Co. 
Fort Worth, Tex., The Fair 
Fort Wayne, Ind., Woif & Dessauer 
Grand Rapids, Mich., Horpolsheimer's 
Galveston, Tex., McBride's Dept. Store 
Greenville, Miss., Nelm's and Blum Co. 
Gladewater, Tex., Rose Shop 
Great Falls, Mont., Stiles_ Style Shop 
Houston, Tex., The Fashion 
Hot Springs, Ark., Eleanor Harris 
Hutchinson, Kan., Pegues Wright Dry Goods 

Huntington. W. Va., The Style Shop 
Jackson, Miss.. R. E. Kennington Co. 
Joplin, Mo., Ramsay' 
Jackson, Mich., Bess Winchester Gowns 
Jacksonville, Fla., Sligh's Inc. 
Kansas City, Mo., Herzfeld's 
Lansing, Mich., The Style Shop 
Lincoln, Neb., Hovland Swanson Co. 
Longview, Tex., Maison Marie 
Louisville, Ky., Besten & Langen 
Lubbock, Tex., Craig Gholson Co. 
Madison, Wis., Simpson's 
Memphis, Tenn., Levy's Ladies Toggery 
Miami, Okla., Rose Bud Shop 
Milwaukee, Wis., Florence Danforth 
Mishawaka, Ind., Milady Shop 
Monroe, La., Bella Scherck Davidson 
Muskogee, Okla., Calhoun Dry Goods Co. 
Montgomery, Ala., A. Nachman, Inc. 
Nashville, Tenn., Cain Sloan Co. 
Newport News, Va., Nachman's Dept. Store, 

New York City, Russek's 

Norfolk, Va., Worth, Inc. 

Oak Park, III., Bramson's 

Oklahoma City, Okla., D. F. Payton Co. 

Omaha. Neb., McGuires 

Orlando, Fla., Louis Ladies Redy-to-Wear 

Pampa, Tex., Mnrfees 

Peoria, 111., Block & Kuhl Co. 

Phoenix, Ariz., Goldwater's 

Pittsburgh, Pa., Kaufmanns 

Port Arthur, Tex., Bluestein's 

Raleigh, N. C, Taylor Furnishing Co. 

Roanoke, Va., Samuel Spigel 

Roswell, N. M., The Bray Moore Shop 

Sacramento. Calif., Bon Marche 

Salt Lake City, Utah, Makoff Classic Shop 

San Angelo. Tex., Cos Rushing Greer Co. 

San Antonio, Tex., Frost Bros. 

San Diego, Calif.. Ballard & Brockett 

Seattle. Wash., Frederick & Nelson 

Shawnee. Okla., Mammoth Dept. Store 

The Fashion 


Neflf Petterson 

St. Joseph. Mo., Hirsch Bros. D. G. Co. 
Tampa, Fla., Ernest Maas, Inc. 
Toledo. Ohio, Stein's 
Topeka, Kans., Harry Endlich 
Tucson. Ariz., Levy's 
Tulsa, Okla., _Seidenbach's 
Tyler, Tex., Mayer & Schmidt 
Waco. Tex., Cawthons 

Washington, D. C. , Philipsborn & Co., Inc. 
West Palm Beach. Fla.. Stone & Thomas 
Wichita, Kans., Garfield Leichter Clothing Co. 
Youngstown, Ohio, Strouss Hirshberg 

Shreveport, La., 
Springfield, III., 
Spokane. Wash., 
Springfield, Mo., 
St. Louis, Mo., 

Dance and play — you're truly safe — with 
certain-safe Modess! 

No striking through — as often happens 
with ordinary reversible napkins. No soggy 
edges! For Modess has a specially treated 
material on the sides and back. Wear blue 
line (the moisture-proof side) away from, 
body and protection is complete! 

End "accident panic" 
-ask for Certain-Safe 


Try N-O-V-0 — the new safe douche powder. Cleanses! Deodorizes! {Not a contraceptive.") 

At your druggist or department store 

Movie Classic for March, 1936 



Win Back Pep, 
Clear Your Skin, 
Look Younger. 

Women Need Help More Often Than Men 

When Acids and poison accumulate in your 
blood you lose your vitality and your skin becomes 
coarse and cloudy — you actually feel and look years 
older than you are. And what is worse, functional 
Kidney disorders may cause more serious ailments. 
such as Getting Up Nights, Nervousness, Leg 
Pains, Lumbago, Swollen Joints, Rheumatic Pains, 
Dizziness, Dark Circles Under Eyes, Headaches, 
Frequent Colds, Burning, Smarting, Itching, and 

The only way your body can clean out the Acids, 
poisons, and toxins from 3'our blood is through, 
the function of 9 million tiny, delicate tubes or 
filters in your Kidneys. When your Kidneys get 
tired or slow down because of functional disorders, 
the acids and poisons accumulate and thus cause 
much trouble. Fortunately, it is now easy to help 
stimulate the diuretic action of the Kidneys with a 
Doctor's prescription, Cystex (pronounced Siss- 
Tex), which is available at all drug stores. 

Doctors Praise Cystex 

Dr. Geo. B. K 
recently wrote: 

Dr. G. B. Knight 

night, of Camden, New Jersey, 
''When Kidneys don't function 
properly and fail to properly 
throw off the waste matter 
strained from the blood, aches 
develop in the muscles and 
joints, the appetite suffers, sleep 
is disturbed, and the patient is 
generally run-down and suffers 
with lowered vitality. Cystex 
is an excellent prescription to 
help overcome this condition. It 
starts its beneficial action almost 
immediately, yet contains no 
harmful or injurious ingredi- 
ents. I consider Cystex a 
prescription which men and 



She could have reproached him for 
his fits of temper — his "all in" com- 
plaints. But wisely she saw in his 
frequent colds, his "fagged out," 
"onedge"conditionthevery trouble 
she herself had whipped. Constipa- 
, ,tion ! The very morn- 
ing after taking NR 
/ (Nature's Remedy) , as 
J sheadvised, he felt like i 
himselfagain — keenly fv 
alert, peppy, cheerful. NR — the A " 
safe, dependable, all-vegetable < 
laxative and corrective — 
works gently, thoroughly, 
naturally. It stimulates the 
ehminative tract to com- 
plete, regular functioning. 
Try a box tonight. 
25c — at druggists. 




■^SfNR^'dT™! C o a,e 5 d "-Thermometer. Also 

women in all walks of life should find beneficial in 
the treatment of functional Kidney disorders." 
And Dr. T. J. Rastelli, famous Doctor, Surgeon, 
and Scientist, of London, says: "Cystex is one 
of the finest remedies I have ever known in my 
medical practice. Any doctor will recommend it 
for its definite benefits in the treatment of many 
functional Kidney and Bladder disorders. It is 
safe and harmless." 

World-Wide Success 

Cystex is not an experiment, but is a proven 
success in 31 different countries throughout the 
world. It is prepared with scientific accuracy and 
in accordance with the strict requirements of the 
United States Dispensatory and the United 
States Pharmacopoeia, and because it is intended 
especially for functional Kidney and Bladder dis- 
orders, it is swift, safe and sure in action. 

Guaranteed To Work 

Cystex is offered to all sufferers from func-" 
tional Kidney and Bladder disorders under an 
unlimited guarantee. Put it to the test. See what 
it can do in your own particular case. It must 
bring you a new feeling of energy and vitality in 
48 hours — it must make you look and feel years 
younger and work to your entire satisfaction in 8 
days or you merely return the empty package and 
your money is refunded, in full. You are the sole 
and final judge of your own satisfaction. Cystex 
costs only 3c a dose at all druggists, and as the 
guarantee protects you fully, you should not take 
chances with cheap, inferior, or irritating drugs or 
with neglect. Ask your druggist for guaranteed 
Cystex (pronounced Siss-Tex) today. 



Women, girls, men with faded, gray, streaked hair, 
shampoo and color your hair at the same time with my 
new French discovery— "SHAMPO-KOLOR". No fuss or 
muss. Takes only a few minutes to merely shampoo into 
your hair any natural shade with "SHAMPO-KOLOR". 
No "dyed" look, but a lovely, natural, most lasting color; 
unaffected by washing, or permanent waving. Free Book- 
let. Monsieur L. P. Valligny, Dept. 19, 254 W. 31st St.. 
New York City. 



for immediate consideration 


Dept. FD, Studio Bldg., 

Portland, Ore. 




Old Leg Trouble 


Congestion from VARICOSE VEINS. 
SWELLING. MILK LEG. or Injuries 
cause itching, leg rash and most old leg 
ulcers. Viscose Home Method relieves 
pain, heals many sores or no cost for trial. 
Mention your trouble for a FREE BOOK. 

140 N. Dearborn St. Chicago, III. 

What Your Favorites 
Are Doing — Now! 

[Continued from page 16] 

her leading man and duettist. Gary Cooper, 
on loan from Paramount, is making Opera 
Hat, with 1 Liur as his leading lady. 

— and, with ., rank Capra directing, it shows 
signs of being in the same class with the 
same director's It Happened One Night. 
And Richard Dix, on loan from RKO- 
Radio, is embarking on a big-time melo- 
drama entitled Devil's Squadron. 

• Out thar' in the San Fernando hills, in 
Universal Studios, the most interesting 
picture now being filmed is Show Boat. 
Irene Dunne, as Magnolia, will have her 
greatest singing opportunity in movies. 
Hele- ? ' ,_n is playing Julie, the girl 
who i?-,.- chose deep-down blues; Donald 
Woods'! -nas the important role of her hus- 
band ; and Paul Robeson, the great Negro 
actor and singer, is prominently featured. 
Another outstanding Universal picture 
now in production is Sutter's Gold, with 
Edward Arnold, Lee Tracy and Binnie 
Barnes in the leading roles of this story 
of the gold rush days. . . . On a nearby 
set, Margaret Sullavan is being a modern 
maiden again in Next Time We Love, with 
the new sensation, James Stewart, as her 
leading man. 

• At United Artists' the Chaplin lot is 
even more silent than a Chaplin picture. 
After months of work, his fine comedy, 
Modern Times, is at last finished and on 
view. However, there is other activity at 
United Artists. Freddie Bartholomew, Do- 
lores Costello (returning to the screen 
after a four year-absence, as Freddie's 
young mother) and Mickey Rooney are 
making Little Lord Fauntleroy. 

Miriam Hopkins, Merle Oberon and Joel 
McCrea, co-starring in These Three, seem 
to have finished the picture in perfect har- 
mony — and it is an unusual picture, build- 
ing sympathy for each member of a ro- 
mantic triangle. Just starting is the first 
Pickford-Lasky Production, One Rainy 
Afternoon, starring Francis Lederer, who 
was under serious consideration for the 
role of Romeo opposite Norma Shearer in 
Romeo and Juliet. 

• Leslie Howard won that coveted role 
at M-G-M, where the Shakespearean ro- 
mance is the biggest picture in production 
(now that The Great Ziegfeld is com- 
pleted). This picture brings Norma back 
to films after a year's absence. John Bar- 
rymore is present as Mercutio. 

On the same lot, Wife vs. Secretary of- 
fers Clark Gable, Myrna Loy and Jean 
Harlow (still brownette!) in the eternal 
triangle — and with those stars teamed, what 
a triangle ! 

On the adjoining set, The Voice of Bugle 
Ann. featuring Lionel Barrymore and Eric 
Linden. Linden's success in Ah, Wilder- 
ness — one of the outstanding performances 
of the past year — has made him the talk 
of the town and it is an open secret that 
M-G-M will crown him with stardom if 
this new picture is well received. 

New pictures and new stars. Every 
month the Hollywood scene changes. Truly, 
it is a business of overnight triumphs and 
overnight failures. And on your approval 
of these pictures depends the fate of stars. 


Movie Classic for March, 1936 

Mary Pickford Offers $1,000 
for Trademark Ideas! 

[Continued from page 6] 

president of Columbia Studios, conceived 
the emblem that fits the studio name so 
well. Just as the S^"" r ' Liberty en- 
lightens the world wiu. promise of 
democracy, so should Columbia promise 
better things in pictures. Such was the 
thought behind the design by Mr. Cohn, 
who was later to produce One Night of 
Love and It Happened One Night. 

CARL LAEMMLE, Sr., founder of Uni- 
versal Pictures, made a logical tie-up 
with the word Universal by creating the 
original emblem of a world with a ring 
around it. The design later was modernized 
by allowing an airplane to encircle the 
globe — as Universal Pictm .. 

Metro-Goldwyn-Mayer's u, trade- 

mark had its inception when uie studio 
was known as the Goldwyn Company, many 
years ago. Producer Samuel Goldwyn, an 
alumnus of Columbia University, was seek- 
ing a distinctive symbol. One day his 
thoughts turned to Columbia's mascot, the 
lion — and he had an artist draw up the 
present design with Leo, the lion, in a circle 
and the Latin words, "Ars Gratia Artis" 
(art for art's sake), inscribed above. And 
today the lion roars a mighty challenge to 
other movie companies. 

From these various examples, you may 
gather some idea of what Miss Pickford 
and Mr. Lasky are seeking. Each emblem 
has unusual appeal and distinction. Most 
of them tie up well with studio names. 
By one device or another, each trademark 
carries a definite "wallop." You can use 
these principles yourself in trying for one 
of the big prizes. 

Think about a Pickford-Lasky trade- 
mark in your free moments. 

When you get an idea, WRITE IT 
DOWN ! A fleeting thought may be worth 
$600 to you! 

Pickford-Lasky Productions need the 
design for their first film, tentatively titled 
One Rainy Afternoon. Francis Lederer 
is the star, with a supporting cast that 
includes Ida Lupino, Edward Everett Hor- 
ton, Hugh Herbert and Madame Schumann- 

Put on your thinking cap ! Send 
in your suggestion — or suggestions — for 
a Pickford-Lasky trademark ! 

Every idea you submit has a chance of 
winning a prize ! 

These Are the Rules: 
(Read them carefully) 

1. This contest is open to everyone with 
the exception of employees, or relatives 
of employees, of Motion Picture Publica- 
tions, Inc., Fawcett Publications, Inc., 
Pickford-Lasky Productions and affiliates. 

2. Entries may consist either of written 
descriptions of trademark ideas, or draw- 
ings of them. Drawings are not neces- 
sary. Do not submit fancy entries. 

3. Contest opens February 1, 1936 and 
closes April 15, 1936; winners will be an- 
nounced as soon thereafter as possible. 

4. Entries should be addressed to Trade- 
mark Contest Editor, MOVIE CLASSIC, 
7046 Hollywood Boulevard, Hollywood, 

5. Judges for this contest are Mary Pick- 
ford, Jesse Lasky and Roscoe Fawcett. 
Their decision will be final. 

6. In the event of ties, duplicate prizes 
will be awarded. 

• "Oo-hoo, Mother! 
Come right away — 
Sister's getting all 
fixed for a big cry. 
And you know how 
catching it is! If she 
cries, I'm going to, 
too — 'cause she's 
my own twin and I 
feel so sorry!" 

• "See here — this 
woolly sweater's 
making her a little 
bit prickly. How 
well I know the feel- 
ing! Wouldn't a few 
shakes of our slick, 
smooth Johnson's 
Baby Powderbe just 
the thing?" 

• (( Some for me, 
too? Oh,how nice! I 
just love to feel that 
soft, slippery pow- 
der going all tickly 
down myneck. Let's 
not have it just at 
bath-time — let's 
have it often! Then 
we'd never cry! " 

• "I'm Johnson's Baby Powder.. . the best care- 
taker for babies' tender skins! My silky smooth- 
ness wards off chafes and rashes — for I'm made 
of finest Italian talc. No gritty particles and no 
orris-root . . . Try Johnson's Baby Soap, Baby 
Cream and Baby Oil, too." 

Movie Classic for March, 1936 


Skinny, Weak 




Worn -Out, Pale, Sickly Folks 

Into Strong, Red -Blooded Men 

and Women! 

Kelpamalt, New Mineral Concentrate from the 
Starved Glands— Must Build Rich, Red Blood, 
Put on Lbs. of Solid, "Stay-There" Flesh, Give 
Steady Nerves and Day-Long Energy in First 
Week or Trial is Free! 

Here's new hope and encouragement for thousands of 
even naturally skinny, weak, worn out, haggard-looking 
men and women whose energy and strength have been 
sapped by overwork and worry, who are nervous, irritable, 
always half sick and ailing. Science says the principal 
cause of these rundown conditions is "GLANDS STARV- 
ING FOR IODINE." When these glands don't work prop- 
erly, all the food in the world can't help you. It just 
isn't turned into flesh. The result is, you stay skinny, 
pale, tired-out and rundown. 

The most important gland — the one which actually con- 
trols body weight and strength — needs a definite ration of 
iodine all the time — NATURAL, ASSIMILABLE IODINE 
not to be confused with chemical iodides which often prove 
toxic. Only when the system gets an adequate supply of 
iodine can you regulate metabolism — the body's process of 
converting digested food into firm flesh, new strength Bnd 

To pet NATURAL IODINE in convenient, concentrated and 
assimilable form, take Kelpamalt— now recognized as the world's 
richest Bource of this precious substance. It contains 1.300 timeB 
nore iodine than oysters once considered the best soarce. 6 tablets 
l NATURAL IODINE than 480 lbs. of Bpinach or 

i contain 
1.387 lbs. of lettuce. 

Try Kelpamalt for a single week and notice the difference. See flatter- 
;na extra pounds of "stay-there" flesh appear in place of scrawny 
Notice how much better you feel, and if yon don't gain at 
!k. the trial is free. 100 jumbo size Kelpamalt 
mes the size of ordinnry tablets— cost but a 
— ;. Get Kelpamalt today. Kelpamalt coBts but 
little at all good drug stores. If your dealer hB8 not yet received 
his supply, send $1.00 for Bpecial introductory size bottle of 65 
tablets to the address below. 

hollow . 

least 6 lbs. in one t 

tablets— four to five 


Write today for fascinating instructive 50-page book on How to 
Add Weight Quickly. Mineral contents of Food and their effects 
on the human body. New facts aboutNATURAL IODINE. Stan- 
dard weight and measurement charts. Daily menus for weight 
building. Absolutely free. No obligation. Kelpamalt Co.. 
Dept. 680, 27-33 West 20th St., New York City. 


Manufacturer's Note:— Inferior products— sold as kelp and malt 
preparations— m imitation of the genuine Seedol Kelpamalt are being 
offered as substitutes. Don't be footed. Demand genuine Seedol 
Kelpamalt Tablets. They are easily assimilated, do not upset etomach 
nor injure teeth. Results guaranteed or money back. 


Shopping ¥mM 

You're bound to find items in this 
month's New Shopping Finds that 
will appeal to you — items whose 
names you will want to know. Just 
write to the Shopping Scouts, 
MOVIE CLASSIC, 1501 Broadway, 
New York City — and the names are 
promptly, freely yours. Enclose a 
stamped, self-addressed envelope. 


1. It sounds like a De Mille inspiration 
— a different-colored bath every day ! A 
set of six little drums contains six colors 
— pink, green, blue, yellow, mauve and 
white. You add a teaspoonful to your 
bath water and immediately it foams in 
a pastel shade perfumed with lilac. $1.50 
a set. 

2. Troubled with wispy, fly-away ends 
that spoil a well-groomed coiffure? Then, 
what you need is a supply of those grand 
little curlers. (They're no secret to 
Hollywood !) Because they are specially 
constructed and unlike any other curlers, 
their use insures soft ringlets and curls 
and the hair dries in double-quick time. 
5c each. 

3. "Dramatize your eyes with eyeshad- 
ow," the screen stars tell us. And there 
are new and subtle shades to lend glamor 
to your make-up — the gray of mist, the 
blue of sky, the green of Nature, the 
brown of earth, and amethyst to enhance 
the beauty of white hair. In ivory con- 
tainers at $2. 

4. At last — we have found a cigarette 
lighter without wicks, flints or wheels. 
It is as easy to operate as a lipstick and 
can be tucked into your handbag as con- 
veniently. It works instantly when the 
cap is removed and a gale of wind cannot 
blow it out. All Hollywood is using it. 
Only $1. 

5. When winter winds whistle, there's 
nothing more comforting than a good hot 
plate of soup. Have you tried cream of 
oyster? It's made from plump, salty 
oysters and rich cream. The master of 
the house will cheer for it — and so will 
you. 15c a can. 

6. Haven't you often wished you had a 
knack of slicing string beans into thin, 
green slivers? There's a little gadget 
that will do the job for you and end your 
bean-cutting and finger-slicing labors for 

7. Try cracking the ice in your drinks — 
both hard and soft. A new cocktail 
shaker-ice crusher has a sharp plunger 
to chop the cubes up fine and can be 
used to shave ice for chilled fruits and 
seafoods, too. $1. 

8. Another clever kitchen device to glad- 
den the heart of the housewife is the 
catalin-handled vegetable slicer. One 
deft twist of the wrist and the prosaic 

Movie Classic for March, 1936 

beet, potato or turnip will assume a 
flower-like shape. 10c. 

9. If you have bleached your hair well, 
but not too wisely, you'll be glad to know 
that something can be done about it. It's 
a rinse that gives a real honey tone to 
blonde hair. And a few drops in the 
rinsing water remove yellow streaks from 
gray or white hair and give it a silver 
tone, 85c. 

10. Rally 'round, you girls who complain 
of dry skin, while we tell you about a 
grand preparation. It's a rich tissue 
cream that gives your skin a velvety tex- 
ture. Spread over your face and throat 
and mold lightly with your fingertips. 
Remove the excess and you'll be delighted 
with the dewy freshness of your skin. 
55c a jar. 

11. Have you ever smelled flowers 
drenched with rain? Now that elusive 
scent has been captured in a French co- 
logne. When applied behind the ears, on 
the temples and at the nape of the neck, 
the delicate, yet persistent perfume gives 
a most alluring effect. $1.25 a bottle. 

12. Intriguing new finds on the Shopping 
Scouts' list are the hermetically sealed 
ampules containing enough French per- 
fume for one application. You may have 
almost any French perfume you choose 
in a convenient purse-size container. Of 
course, you get only a few drops, but 
what can you lose when the ampules con- 
tain rare, imported perfumes and cost 
only 10c? 

13. No wonder Joan Marsh, of Holly- 
wood, looks so pleased. Those stitched 
doeskin gloves she is pulling on are a 
smart new fashion note. Better still, they 
are guaranteed washable and launder as 
easily as a handkerchief. They can be 
obtained in twenty-one new colors. $4 
a pair. 

See Hollywood Yourself! 

[Continued from page 18] 

the Twin Cities (St. Paul and Minneapo- 
lis), and the beautiful lake country of Min- 
nesota, to Yellowstone National Park and 
Seattle, where there will be brief stop- 
overs, before speeding down the Pacific 
Coast to Hollywood . . . where the famous 
Roosevelt Hotel will be your headquarters. 

AS YOU may already know, it is no easy 
. task for Hollywood visitors to get past 
studio gates these days. But members of 
the July Movieland Tour will find the gates 
of 20th Century-Fox Studios wide open to 
them ; and those who take the August 
Movieland Special will have the thrill that 
last year's Movieland Tourists had, see- 
ing movies made in the studio that is a 
city in itself — namely, Universal. 

You will see and do things denied to the 
average visitor who is lucky enough to get 
past the well-guarded gates of 20th Cen- 
tury-Fox, whose Movietone City studios 
cover 110 acres. You will watch scenes 
being filmed, learn how movies are made, 
meet stars face to face. And 20th Cen- 
tury-Fox has a galaxy of stars you have 
always wanted to see in the flesh — stars 
like Shirley Temple, Warner Baxter, John 
Boles, Claire Trevor, Gloria Stuart, Ro- 
chelle Hudson, Loretta Young, Ronald Col- 
man, Warner Oland. You will be taken 
inside the vast new sound stage dedicated 
to the memory of Will Rogers. You will 
see Shirley Temple's studio bungalow. You 
will lunch with Alice Faye in the most 
beautiful studio lunchroom in Hollywood— 
the Cafe de Paris, which is decorated with 
murals of famous Fox successes. You will 
see many of the actual sets that have been 
used in recent films. 

Nor is this all of Hollywood that you 
will see. You will be shown the homes of 
the stars — and will be entertained at a 
cocktail party at the beautiful home of a 
well-known player. (More about this next 
month!) You will be taken one evening 
to the famous Cocoanut Grove or the equal- 
ly famous Blossom Room, favorite dancing 
places of the stars. You will have a grand 
party at the Brass Rail or some other Hol- 
lywood rendezvous. You will be given the 
opportunity to see Catalina Island, off the 
Coast, where many "South Sea" scenes are 
filmed. You won't have an idle moment 
while you are in Hollywood. 

One special treat in store for you is a 
reception given by Max Factor, famous 
make-up expert of Hollywood, in his new 
$500,000 beauty salon. You will meet 
many prominent and beautiful stars there — 
and every woman member of the Tour 
will receive first-hand beauty advice from 
Mr. Factor, beauty adviser to the stars. 

A chance for a vacation like this is a 
chance of a lifetime. It is a vacation you 
will never forget — or regret. Reserva- 
tions, necessarily, will be limited to about 
two hundred persons per tour. So, if you 
are at all interested, write today for full 
particulars about the Second Annual Movie- 
land Tour — to Mr. J. C. Godfrey, Jr., 
Movieland Tour Manager, Movie Classic, 
360 N. Michigan Ave., Chicago, 111. Send 
along a three-cent stamp to cover postage, 
and by return mail you will receive com- 
plete information about the itinerary, the 
low cost, the places you will see. This in- 
formation, remember, costs you nothing. 

All aboard for Hollywood — and a two 
weeks' vacation full of thrills, adventure 
and fun ! 

Do This to Ease 
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IThe moment you feel a throat 
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2 If you have a cold, take 
• 2 BAYER ASPIRIN Tablets 
and drink a full glass of water. 
Repeat if necessary, according 
to directions in package. 

If you want the most astonishing 
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throat, you have ever experienced, 
just do this: 

Crush and dissolve three Bayer 
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Gargle your throat twice with 
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People by the tens of thousands 
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way. Doctors endorse it. And 
scientists acclaim it as perhaps 
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covered — for it provides a medi- 
cation, and it takes medicine to 
combat a sore throat. 

If you have a cold with your 
sore throat — take two Bayer 
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water at the same time you gargle. 

When you buy, though, be sure 
to get real BAYER ASPIRIN 
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Why BAYER Aspirin 
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Drop a Bayer Aspirin tablet into a 
glass of water. 

By the time it 

hits the bottom 

of the glass it is f<4cr'ji 



A Genuine Bayer Aspirin tablet 
starts to disintegrate and go to work. 
What happens in these glasses hap- 
pens in your stomach — Genuine 
BAYER Aspirin tablets start "taking 
hold" of pain a few minutes after 



Movie Classic for March, 1936 


for POOR 


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gist for inexpensive trial jar. 
If he can't supply you mail 
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Company, Baltimore, Md. 

This Is the Fred Astaire We Know — 

[Continued from page 36] 

Throughout every one of them, I have 
found him friendly, sincere, courteous 
and the kind of person you can depend 
on . . . " 

She paused, considering that last re- 
mark. "I think," she said, "that if any- 
one should ask me to describe Fred in 
one sentence, I should say just that . . . 
You can depend on him both as a danc- 
ing partner and as a friend. And, after 
all, what more can you ask of anyone?" 

They called Ginger back to the set, 
then, and I turned to Mark Sandrich, 
Fred's director in three of his four pic- 
tures. "And if I should ask you to 
describe Fred Astaire in a single sent- 
ence — ?" I began. 

"I don't think I could do it in one 
sentence," he interrupted, with a smile. 
"There is a great deal to this man, 
Astaire, you know. . . " 

"Please use as many sentences as 
you like. . . " 

"Well, I believe I should say first 
that the man is an anomaly," he de- 
clared. "I mean this : No more serious 
person ever lived, and yet there is about 
him a quality of humor, a zest for mis- 
chief that at times completely dominates 
him. And that, I think, is an unusual 
contradiction of character. 

"He works like a dynamo, with an in- 
tensity and striving for perfection that 
seem to go beyond all human desire and 
yet — let a break come, let something 
humorous happen or some slip-up occur 
in the routine of hard work, and he 
will relax into whimsical comedy that 
presents him as an utterly different in- 

"It actually is strange how close to 
the serious this comic streak is in Fred," 
he continued. "And yet, it is the in- 
tensity with which he works that most 
astounds me. Always, I have to be the 
one to call quits. He is never satisfied ! 

"T FIND, too, that he has the most 
■*- responsive mind with which I have 
ever come in contact. The rapidity with 
which he responds to a new element, a 
new tone, a new situation is inexplicable. 
Honestly," he confided, "I've often been 
able to eliminate many dialogue speeches 

because of Fred's amazing ability to 
put over in a single gesture the idea 

"And that," he concluded, "is only 
Fred Astaire, the actor. Fred Astaire, 
the man, is still another personality. He 
is a most normal person in every atti- 
tude toward living. He has instinctive 
good taste. He is sincere. In the final 
analysis, if anyone should ask me what 
I think of Fred Astaire, I should answer 
this, first and last: I respect him!" 

From pretty, intelligent little Ger- 
trude Wellman, script girl on all of the 
Astaire pictures, came this canny, sig- 
nificant observation concerning the 
famous Fred : 

"It's a funny thing, but when you go 
on an Astaire set, you always have to 
look for Fred. . . " 

Better than any adjective does this 
one remark paint the modesty, the re- 
serve, the antipathy to ostentation that 
are characteristic of this man . . . "You 
always have to look for Fred . . . He 
never seeks the limelight ..." 

"Fred Astaire? He is the most 
democratic guy I ever saw!" This was 
James Kirley, one of the studio grips, 
talking. "I've seen plenty of actors and 
actresses, too . . . High-hat ones, friend- 
ly ones, changeable ones, but Fred As- 
taire is really democratic. He is demo- 
cratic because he doesn't know he is. 
He doesn't work at it." 

I didn't ask for an example. I already 
had it, remembering an off-stage scene 
on the Follozv the Fleet set a few days 
before. A slight, quiet figure in the 
uniform of Uncle Sam's Navy was sit- 
ting on a carpenter's bench, swinging 
his feet and drinking ginger ale out of 
a bottle. He wasn't alone. On one side 
sat a studio carpenter and on the other 
an overalled electrician. They were 
drinking ginger ale out of bottles, too, 
and laughing at the remarks of the chap 
in the sailor's suit . . . Fred Astaire . . . 
No, he wasn't working at being demo- 
cratic, then. He was just being Astaire. 

TT IS Fred Astaire's "camera face" 
A that perhaps most interests David 
Abel, ace cameraman at RKO-Radio, 

Quick! A Pencil! 

Try filling in the blanks in the following sentences: 
| played Amanda in Private hives. 

2. played Monet in Private Worlds. 

3. played Kitty Parker in Dinner at Eight. 

4. played Philo Vance in The Benson Murder Case. 

5. , played Philo Vance in The Dragon Murder Case. 

6 _ , played Philo Vance in The Casino Murder Case. 

7 played Maude Triplett in Night After Night. 

8 played Amy in Little Women. 

9. played Meg in Little Women. 

10. played Lt. Pinkerton in Madame Butterfly. 

Answers on page 81 


Movie Classic for March, 1936 

who has filmed several of the Astaire 

"He has a face that means some- 
thing," Abel remarked, almost reverent- 
ly. "You can photograph him any way 
you like, and he still is Fred. You don't 
have to worry about angles and right 
and wrong lighting and such things. 
Say, it's a pleasure to photograph a man 
like that.' He has personality!" 

'And a pleasure to know him, too?" 
I suggested. 

"It certainly is, and I guess I should 
have talked about that first, except that 
we cameramen are pretty well inclined 
to talk shop on all occasions. Anyway, 
if you ask me what kind of chap Fred 
Astaire is, I should say this : He has 
more talent and less temperament than 
almost any actor I have ever known!" 

"Fred Astaire? Well—" 

Hermes Pan, handsome young dance 
director who has worked with Fred in 
all of the latter's pictures, paused. 
Then — 

"If you want me to talk about the 
man, I can say he is swell," he declared. 
"And if you want me to talk about the 
dancer, I can say that not only is he a 
great dancer, but the hardest taskmaster 
I've ever known — yet only toward him- 
self, never toward anyone else. He works 
until you'd think he would wear him- 
self out and then, if the particular steps 
he has in mind don't shape up right, 
he'll get madder than hops at himself. 
He always keeps at what he wants until 
it is right, however — although I've never 
seem him wholly satisfied." 

Pan, like Sandrich, is also well aware 
of the Astaire humor and how it is 
likely to crop out at various and sundry 
unexpected intervals. 

"POR INSTANCE." he said. "Fred 
■*■ and Ginger will have been rehears- 
ing until you'd think them ready to drop 
in their tracks and then, suddenly, with 
the music still going and maybe the se- 
quence almost ready to shoot, Fred will 
burlesque the thing, changing like light- 
ning from the sublime to the ridiculous, 
as it were. 

"And, mind you, Fred does this with- 
out warning. The clown in him will 
apparently allow itself to be submerged 
in hard and serious work just so long 
and no longer. I actually think," he 
added, "that this sort of performance 
is the safety valve that keeps him normal 
in the face of the relentless manner in 
which he drives himself to work, work 
and more work." 

It was time for Pan to get back on 
the set, now, and he rose with an 

"I'm afraid I have talked too much 
about Fred," he said. "He doesn't like 
to have me, or anyone, do it. You see, 
he really can't understand why anyone 
should be interested in him except as 
a dancer or an actor." 

The dance director smiled, then. "I 
guess I haven't answered your first ques- 
tion specifically, have I ? You asked 
me: 'What is Fred really like?' Well, 
I've only one answer to that . . . Fred 
Astaire is like himself ..." 


© you know anybody 
who deserves 


M 1 


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but after all, they feel, the girl of 
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She should know that the under- 
arms need special daily care. Soap 
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Movie Classic for March, 1936 







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Des Moines, Iowa 


If Freddie Bartholomew Were King- 

[Continitcd from page 38] 

all those things. Not that she specially 
cares for them, but 1 think she might, if 

"Then I'd take care of my sisters and 
the rest of the family, and give my 
granny and grandpa a mansion, too — or 
maybe they'd all like to live together in 
a super-one. And I'd give them a tour- 
ing-car to see all America. And Cis could 
go along, too, if she wanted. 

"The-e-n — I'd send my cousin Peter 
to a fine school — in fact, I'd have a 
school specially built for him. And he's 
keen on flying, so I'd give him airplanes 
and a flying field. And I'd give Lillian 
and Keith — his father and mother — a 
mansion in England, and I'd have a 
shore place for them here. And for my 
uncle and aunt in Canada, if they wanted 
to stay there, I'd give them a nice big 
sort of Alpine home — because they live 
in the mountains more or less. 

"And then I'd give Roland Leigh, my 
best friend — well, I don't know anything 
he wants — he has everything. Tell you 
what I'd do. If I were king, I'd have a 
sort of English- American Senate-Parlia- 
ment and I'd have representatives of 
both countries to smooth things out, as 
it were. And Roly must be the head of 
it because, as a smoothing-out person, 
there's nobody better, is there, Cis?" He 
chuckled suddenly. "I am turning the 
country upside down with a vengeance. 
Let's see — what would I do next?" What 
he did then was to clasp Concol to his 
stomach and roll neatly over on the floor, 
lifting his flushed face to say: 

"/"\H, YES — I'd have a great huge 
^^ house built for all the poor people 
to go into for the time being. And I'd 
have all their old, shipwrecked houses 
torn down and rebuilt right from the 
foundation and made modern homes with 
all the modern conveniences. Then I'd 
give them all ten hundred dollars — let's 
see, that's a thousand dollars — to start 
out again and get new jobs. And the 
great big building they'd been housed 
in — I'd make that a school, which would 
economize, you see. And Miss Murphy, 
my tutor, should be the head of the 
school, walking around in a silk gown 
and just giving orders in her nice quiet 
way, making the lightest possible vocal 
noise, as she always does. And I'd give 
Ray, my friend who 'stands in' for me at 
the studio, a horse and a gun and any 
job he might fancy. 

"And I might get another horse for 
myself — or maybe thirty-six. I don't 
know why — it's a number that sort of 
appeals to me, three being my lucky 
number and twice three's six and there 
you are. And I'd make a collection of 
guns. And if they knew I liked guns, 
they'd probably all bring me presents — -I 
mean, if I were king. Then I'd have 
birthdays, of course, and I'd get more 
guns. I shouldn't bother with clothes, if 
you don't mind, Cis — I'd wear just a 

couple of suits. And no more dogs, be- 
cause Concol would be jealous. I'd get 
him a nice big kennel with a sort of ar- 
rangement where he'd push a button and 
pop ! would come a bone." 

Freddie eyed my pencil, flying to keep 
up with him. "I'd give you a new note- 
book," he promised affably. I made an 
effort to look grateful, but he promptly 
sensed the absence of any real enthusi- 
asm. "Pretty shabby present," he scoffed, 
"for a royal king. Tell you what we'll 
do — on your birthday we'll probably re- 
member you with a couple of kingdoms," 
and scanned my face to see if he had hit 
it right this time. 

"VVT'ELL — then, of course, we'd have 
* ^ to have some exploration. I'd 
send brave men and true to South Amer- 
ica and have them navigate further in. 
And you know what I think would be a 
good idea ? The North Pole. I'd build 
a big dynamo there to generate elec- 
tricity. . . . And I'd collect all the gold 
and silver you could possibly get through 
trade and digging in our own mines. 
Then I'd have representatives go around, 
spending it at shops and fairs — buying 
certain small things at tremendous profit 
to the people, so that we got a little 
and gave a lot and everyone would have 

"Then, of course, I'd have my navy. 
It being such a wealthy country — Eng- 
land and America, I'd be king of — I'd 
have it constantly encircled by battle- 
ships and cruisers. And G-men. You see, 
the way it is now, if a criminal goes to 
Arizona, the policemen lose control of 
his activities. Well, I'd dispense with all 
that. I'd have a sort of G-man-Scotland 
Yard arrangement over the whole coun- 
try, drawing the net tighter and tighter, 
so that he couldn't just escape to Arizona 
and forget about it, but would certainly 
be caught." (What Arizona ever did to 
Freddie nobody knows, but he seems to 
have it fixed firmly in his mind as a 
place of dark fascination.) 

"Then, you see, if the criminal really 
wanted to escape, he'd have to flee the 
country, and we'd watch the ports and 
he wouldn't be able to get back, and the 
other country would just have to do the . 
best they could with him. And that 
way," said Freddie comfortably, "we'd 
dispense with the criminals. 

"AND another thing I'd do. About 
•^ ■*■ cars. That's a burning question. 
Let's see — everyone would have to go 
before a certain examining board and 
go through a gruel of five hours. I'd 
have a big screen right before them and 
all sorts of things would happen on the 
screen. For instance, they'd see two peo- 
ple running all of a sudden in front of 
their car. Well, what would they do? 
That would be part of the gruel, d'you 
see? Then they'd be tested for mental 


Movie Classic for March, 1936 

ability, and if they were slow and could 
not say their tables, that would prove 
they were too dull-witted to grasp an 
emergency brake. Then they'd be tested 
for health and sight and selfishness- — 
whether they were the type that always 
tooted their horn and disnerved people 
and scraped their fenders. And if they 
were, they wouldn't get a license. 

"And I'd impose nothing less than one 
year's imprisonment for killing if there's 
evidence enough that a man did it 
through carelessness. And I'd make him 
do a tour of the morgue. And I'd take 
his license away forever — iorcz'cr, mind 
you. But if he only sort of wounds the 
innocent victim, I'd take it away for two 
years. Then people wouldn't be so quick 
to want licenses, because of the king's 
stern punishment. They'd say : 'No — I'd 
better not.' For instance, how about you, 
Cis ? Would you want one ? You see ? 
she wouldn't. Cis is the first case. There 
you are ! It's working ! Right in the 
family." He was squealing with delight, 
pumping Cis's hand in vigorous grati- 
tude for her cooperation. 

"And I'd go around incognito. That 
must be great fun. There's no actor or 
actress who can go around incognito, 
because people know them from seeing 
them on the screen. For instance, if a 
king put on an old tie and walked into a 
grocery shop, he'd just be another 
shopper in an old tie. But if Mae West 
put on an old dress, they'd just say 
she was stingy and recognize her. 

"Then, of course, there's war. I 
wouldn't make one, but if other king- 
doms challenged me, I'd go. Oh yes, I'd 
go. No soft-soap stuff for me. I don't 
know that I'd specially care for blood- 
shed, however, so maybe when they saw 
this huge English-American army ap- 
proaching, they'd just kindly surrender. 
But if other kingdoms challenged me, I'd 
go. And I'd lead the army myself. That's 
what a good king does, isn't it? And if 
I were king," he assured us earnestly, 
"I'd be a good king. And my kingdom 
would be a good kingdom." 

As good a king as you are an actor, 
Freddie. As kindly and sound a king as 
you are a boy. No kingdom could ask 

Test Your Movie Memory! 

What were the names of the pictures 
in which 


Clark Gable played Rodney! 

Joan Crawford was known as Janie! 

Bing Crosby played Tom Grayson! 

Claudette Colbert answered to the 

name of El lie! 

James Cagney's name was Tom 


Bette Davis was called Marie Roark! 

George Arliss played Royale? 

Janet Gaynor was a girl named 


Charles Farrell had the name of 

Adoniram Scblump? 

Irene Dunne's name was Jessica! 

(You will find the answers on page 83.) 


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Movie Classic for March, 1936 





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Jeanette's Success Story Could Be Yours 

[Continued front page 34] 

have an hour or a clay free from the 
immediate job of today, I have to seize 
it to prepare for the job of tomorrow. 
Ambition never recognizes today; it is 
concerned only with tomorrow. Every 
accomplishment simply stimulates ambi- 
tion by creating a new goal — one that 
is more difficult to achieve . . ." 

That's what Jeanette says — and it will 
bear a lot of thinking. So, Mary, let's 
forget all this bosh about overnight suc- 
cess, and glamorous living. Let's talk 
about WORK ! 

DERHAPS you think of Jeanette as 
someone who leads a gay social life, 
invited here and there and everywhere. 
Well, you're half-right. She's invited, 
but she can't accept. 

"It's utterly impossible for me to 
have many friends outside of my own 
profession," she explains. "The people 
who have no firsthand knowledge of this 
business and the work it involves simply 
cannot understand why, after I accept 
their invitations, I often have to send 
regrets. They cannot understand why 
I have to make myself inaccessible some- 
times. They cannot understand why I 
dare not risk over-fatigue by keeping 
late hours. And, misunderstanding, they 
are resentful. I have never been able 
to have many friends. No truly am- 
bitious actress or singer can afford the 
leisure to build many friendships." 

Let's turn back the clock . . . back to 
the days of Jeanette's professional be- 
ginnings, when she was dancing in a 
New York chorus. 

Her father permitted her to join that 
chorus on this condition : that she would 
spend her days completing her high 
school courses. She agreed — and carried 
out her agreement faithfully. She car- 
ried a full course, rehearsed her chorus 
numbers daily, played a show every 
night and still found time for a daily 
voice lesson ! 

You see, even then, she was deter- 
mined to be a singer. Dancing was only 
a stop-gap, a job to be done to the best 
of her ability in the hope that some day 
it would give her the opportunity to 
sing. And she waited SIX YEARS be- 
fore a producer gave her that oppor- 
tunity. Six years of repeated disap- 
pointments, of constant study, six years 
of self-improvement, six years of work ! 

She went on to musical comedy star- 
dom — determined that musical comedy 
would be only another stop-gap, another 
stepping stone. Her horizons had re- 
ceded; she wanted to sing better music 
to other audiences. Work and still more 
work ! Daily rehearsals, nightly per- 
formances, increasing business cares. 
And with it all, instead of resting on 
laurels already won, Jeanette devoted 
more and more time to study. She found 
a new and better voice teacher ; she took 
up the study of French ; she toiled to 
improve her acting ability. Ambition, 
which was increased rather than dimin- 
ished by success, drove her as merciless- 
ly as ever the whip of an overseer drove 
a slave. 

' I *HE screen discovered her and made 
•*■ her a star before she had the oppor- 
tunity to achieve her musical goals. And 
her vastly augmented earnings meant to 
her, principally, greater opportunity for 
work. Screen stardom and its conse- 
quent fame meant, principally, another 
stepping stone toward the realization of 
her other and greater ambitions. 

I don't know what the average out- 
sider's conception of a screen star's 
work may be, but I do know that these 
"gilded lilies" whom Mary envies are 

If the "call" is for nine o'clock in the 
morning — it's never later and often 
earlier — it means that the star must be 
up from bed not later than half-past six, 
to don make-up. The company stops 

Observation Test 


you answer correctly the following questions, without referring back to the photo- 


on Page 14 until you have finished? (That photograph was the one of Fredric 


and Olivia de Havilland making a scene for Anthony Adverse.) If you can 


every question correctly, you would be a handy observer on a movie set! 


How many candles are there on the table behind Fredric and Olivia? 


How many spotlights are visible? 


Are Freddie and Olivia holding hands? 


Are they smiling, or are they serious? 


Is the camera high or low? 


Is the cameraman smiling? 


Is Mervyn Le Roy chewing his cigar or holding it in his hand? 


Is he sitting straight or tilted backward? 


Where does he keep his notebook? 


Are there any electric cables under his chair? 


Movie Classic for March, 1936 

work for lunch at noon. By one or one- 
thirty, shooting is resumed and the com- 
pany is seldom dismissed before six in 
the 'evening. At night, the "lines" for 
the next day's shooting must be studied. 

What of the rare "days off?" Well, 
there are wardrobe fittings, and there 
are interviews, and there are portraits 
to be made, and there are story confer- 
ences, and there are a million and one 
other distracting duties. 

And yet Jeanette, fighting for her am- 
bition and knowing that she must either 
forge ahead or slip behind, has man- 
aged to squeeze out of each day extra 
hours for study. Every day she has 
spent an hour and a half with her voice 
teacher ; until recently she spent another 
hour every day with a French teacher. 
Lately, she has studied Italian, and dur- 
ing the last few years, she has also 
studied operatic roles and acquired an 
extensive repertoire in French, Italian 
and German. 

tf'-pHERE is no end to ambition and 

*■ there is no end to the work of ful- 
filling ambition," she explains. "No 
singer ever reached the point where 
voice lessons and constant practice could 
be eliminated. There is always the fight 
to keep at a peak, always the battle to 
avoid bad singing habits, always the un- 
comfortable knowledge that others are 
striving for place and some one of them 
will take yours unless you keep in the 
van by constant improvement. 

"No one truly ambitious can ever 
fully realize an ambition, for ambition 
changes from day to day and forever 
keeps ahead of achievement. Once I 
thought that my ambition was to earn a 
certain amount of money each week. 
When I had reached that goal, my ambi- 
tion had raced on ahead and the amount 
seemed very unimportant. Now, I am 
no longer working for rewards that can 
be measured in money. I am working 
for the self-satisfaction of achieving 
new goals." 

What are those new goals? Opera 
and the concert stage. She will not ad- 
mit as much in so many words because 
she believes it bad luck to talk about 
definite plans for the future, but I have 
heard from seemingly reliable sources 
that she has already received offers — 
that her debut in grand opera is in the 
immediate offing. It will find her ready 
because she has worked to be ready. 

She once told me a story that I want 
to pass along for Mary's benefit. It 
concerns one of the highlights of her 
career, her concert engagement in Paris. 

She was desperately anxious to suc- 
ceed. Her nerves were keyed to the 
breaking point. She did not know 
whether her French audience would be 
friendly or inimical. And every day 
for a week, her nerves broke just before 
she gave her concert. She could not 
keep food on her stomach. She was 
physically ill. But she carried on, in 
spite of it, and won one of the greatest 
ovations a Parisian audience ever gave 
a star. 

And that, Mary Doe, is the meaning 
of real ambition. 

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gotten. All but one — that of Clark 
Gable, standing at the rail, brooding. 

"So that was it," any of them might 
have said. "According to this story, he 
and his wife were already separated. 
Now, I wonder what the real trouble 
was. Anyway, he wasn't happy about it !" 

I do not think Clark Gable's parting 
from his wife is so different from the 
average marital separation. It does car- 
ry one extra burden. You or I could 
stand at a ship's rail and brood without 
having our little ship-world pay us too 
much attention. We could go through 
a court action without having the whole 
world headline it. But what we felt — 
would that be so different? 

T^HEY were so happy when they ar- 
-"■ rived together in Hollywood — hand 
in hand, shoulder to shoulder. They 
were beginning a new adventure. Clark 
had tried Hollywood before, but one 
failure did not insure a second. Now, 
he had that stage triumph in The Last 
Mile to his credit. Now he had Ria — 
a charming, spirited, inspiring bride to 
help him. Now, he had two fine step- 
children to make success more impor- 
tant. Few people know how Clark liked 
— really liked — those young people. Few 
understand how proud Ria was that her 
children could respect and be respected 
by this man she had married. 

I remember an incident that has never 
been recorded. Clark's young step- 
daughter — a lovely girl, who has recent- 
ly married — decided that she would like 
to try motion pictures. I doubt if many 
step-fathers as famous as this one would 
have applauded such a decision. If she 
passed her test, she would certainly be 
billed as his step-daughter. No film 
company would overlook the publicity 
to be gained from the connection. But 
Clark was delighted by her ambition — 
and he was determined that she should 
have every advantage. . . A studio had 
offered a test — to be made at once. Clark 
stopped the rush. 

He saw to it that she had a special 
wardrobe, a special make-up woman, a 
special part in a play, voice training. 
And he decided that the man who would 
play opposite her in a test would be : 
Clark Gable. 

I could see, however, that Clark was 
perturbed, despite his enthusiasm. There 
were tiny creases in his brow. Some 
casual remarks gave me a hint of the 
reason : "There's a man who loves her. 
A fine chap. If she really loves him, she 
shouldn't start this acting. She's lovely. 
She'd make a fine wife and mother. I 
wouldn't want to see her try to have 
both marriage and a screen career." 
He shook his head. "No matter how hard 
they try, so few can succeed at both 
jobs." And I sincerely believe that Clark 
was glad when his step-daughter de- 
cided that she did love this "fine chap" 
and dedicated herself to one career. 

/^LARK and Ria Langham Gable al- 
^ ways seemed to be inspiring others. 
Helen Hayes, long before she left Hol- 
lywood, told me, "You know, a few 
friends I have found out here make 
Hollywood so worthwhile — friends like 
Ria and Clark Gable, Norma Shearer 
and Irving Thalberg. Why, you feel 
better just to watch Ria and Clark en- 
ter a room together !" . . . Two years 
later, in New York City, Helen told 
me : "I didn't really dislike Hollywood 
so much. How could I when it brought 
me friends like Ria and Clark Gable?" 

I doubt if I have heard a finer com- 
pliment paid two people. But I have 
heard so many compliments for these 
two. I remember shopping at one of 
Hollywood's exclusive stores, and dis- 
covering that all of the clerks in one 
department were crowded around one 
woman. Not one saw me until she rose 
to go. She was Ria Gable. When she 
had left, I chided the girl who waited 
on me, "I suppose you have to be Mrs. 
Clark Gable to get attention like that !" 

She was shocked. "Oh no ! We are 
not allowed to give more attention to 
one customer than another. It isn't be- 
cause she's Mrs. Gable. It's because 
she's so charming. She is so kind to 
us. We didn't even know who she was 
when she first came here and we felt 
that way about her even then. She'd 
ask, 'And how do you like this ?' in a 
way that made us feel that she really 
wanted our opinion. There's something 
— well, it's hard to explain, but we really 
forget about everyone else when she is 
here. She's just that kind of person. 
And when Mr. Gable comes with her, 
he is like that, too. You know, just 
regular people." 

Only a few months after this experi- 
ence, another girl told me something 
else about Clark Gable, whom she had 
met on a lot as lesser employees do 
meet and work with stars. She con- 
fessed to me : "I had never had a crush 
before. But there it was — so I tried to 
interest him. Do you know what he 
told me ? He said that I was too nice 
a kid to be making eyes at men — espe- 
cially married men. And did I get mad? 
I did not. He was so kind that I had 
to run away because I was crying. And 
he has been a friend, in his big-brother 
way, ever since he told me that I was 
a nice kid. And I'm staying a nice kid, 
too. I couldn't do anything else after 
what Clark Gable told me." 

"\X7'HY, then, are two such grand peo- 
* * pie separating? ... I don't know. 
When the rumors began, months and 
months ago, I asked both. There were 
the usual denials of any intention to 
separate, but through those denials I 
received an impression. I am going to 
pass it on to you. 

A man and a woman who might be 
wonderful friends, unmarried, mav be- 


Movie Classic for March, 1936 

come miserable when married, because 
of different temperaments. 

Years ago, Clark Gable told me that 
he was born with wanderlust in his 
blood. He talked of the days when this 
urge to see new places and do new 
things had led him into the Northwest 
lumber country. He recounted an ar- 
gument with a husky lumberman and 
how they had fought it out — muscle 
against muscle. He recalled the time 
he had ridden a freight train, without 
a ticket, across the northern part of the 
United States. "My hands nearly froze. 
I was so nearly frozen, I almost slipped 
from the roof of a car. But I didn't!'' 

Then, he went to Hollywood. He was 
ambitious. He wanted to prove to Hol- 
lywood what he had proved to the lum- 
berman : he could fight and he could 
win. And when he should have proved 
it ? — 'T want to have money enough to 
care for my family and care for them 
darned well ! But when I have done 
that and have perhaps a hundred dollars 
a week for myself, then I'd like to board 
a tramp steamer and start going." 

I sometimes wonder if certain types of 
men — wanderers, adventurers — should 
be married. And yet I have never seen 
one of these wanderers who did not 
wish he were like the "other fellow," 
and could settle down and be happy. 

CO Clark Gable stood at the liner's 
^ rail and brooded. And Ria Gable 
remained in Hollywood and suffered. 
Two magnificent people who have done 
their best to become "one" when they 
are "two." A man and a woman who 
have struggled to remain together be- 
cause they once believed they would live 
that way "forever after." An actor and 
his wife who worked harder than most 
of us to remain married because they 
feared a curious world might not un- 
derstand if they separated. 

And a world will misunderstand. It 
will cry, "Hollywood." It will watch 
every girl with whom Clark is seen; 
every action that Ria makes. 

It would take great courage for them 
to remain together. It takes terrific 
courage for them to separate. It is 
not easy to break the habit of matri- 
mony when a man and woman like one 
another. Both will be lonely. Both 
will feel a vacancy that may never be 
completely filled. Both will have mem- 
ories that cannot be wholly forgotten. 

Courage! The courage to continue 
together — unhappy, incompatible. The 
courage to separate — also unhappy. 
Which takes the more courage? What 
would you do if you were either Clark 
or Ria Gable? 

In his first picture since the unforget- 
table Mutiny on the Bounty, Clark 
Gable returns to modern times and 
faces a situation that is not new to 
films, but is new to him. The title of 
the picture is Wife vs. Secretary. 
Myrna Loy and Jean Harlow are his 
co-stars . . . Myrna as the wife and 
Jean as the secretary. 


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Paulette Goddard — Chaplin's Mystery Girl 

[Continued from page 37] 

Dept. FWG2 


ingly ideal relationship. Chaplin is a 
dreaming realist. He is a man who 
bends his dreams into the mold of 
achievement. He insists that he must 
be judged not by the things he dreams, 
but by the things he accomplishes — the 
real things that can be evaluated. 

Paulette is like that, too. She has 
consistently refused to be interviewed 
because she has refused to borrow glory 
by her association with a famous man. 
She has insisted that her talents must 
be judged on their merits, rather than 
on the lucky circumstance of her re- 
lationship to this great pantomimist. 

Chaplin is an ambitious man, and her 
own desire for accomplishment is as 
boundless and as urgent as his. Like 
Chaplin, she plans carefully and gauges 
wisely. She has refused role after 
role offered her recently in important 
productions, because she believes that 
she must know first what she has ac- 
complished in her first picture. Then 
she can take stock, survey her future 
with intelligence. And this in itself is 
an index to her intelligence. 

Her formal education has not been 
too extensive. As a child, she lived in 
a convent, and had private-school train- 
ing in her adolescent years. But she 
has acquired knowledge as she has gone 
along. And she is acquiring it today. 

Her interests are wide and varied. 
Many of them have been given impetus 
by Chaplin's varied interests. He has 
always been known for his delvings into 
philosophy and religions and history and 
the fine arts. He has concerned himself 
with social progress (as you will dis- 
cover when you see Modern Times). 
Paulette's mental inquisitiveness has 
likewise extended to biographies and 
philosophies ; to psychology and history ; 
to the best in literature ; to music. No 
other woman in Chaplin's life has ever 
had such deep understanding of music. 
And Chaplin — who composed the music 
that accompanies Modem Times — 
must appreciate that. 

TF ANY other young actress in Holly- 

wood expressed a desire not to talk 
about herself, eyebrows might be raised 
in doubt. But, with Paulette, sincerity 
is a fetish. What she says, she means. 

Paulette is an only child, and yet the 
usual fault of only children — a lack of 
balance — is not hers. In all the months 
that she has been in Hollywood, during 
all the months of tedious and secret work 
on one picture, not once has she devi- 
ated from her balanced program. 

She has an intuitive sensitiveness that 
is the other side of emotional stability. 
There is in her even a trace of that 
world-woe that finds kinship in the 
moody depths of Chaplin and that makes 
her the perfect work-mate for him. 

In many respects, Paulette Goddard is 
a composite woman. She is as gentle 
as a child, and as shy. She is as simple 

in her tastes and her likes and dislikes 
as only the very rare person dares to be. 
And yet there is that intelligence of hers 
that cannot be discounted. She has her 
serious moments and her gay moments. 
As she loves to study, so does she love 
to play. Chaplin and his two boys — 
Charles, Jr. and Sidney — and Paulette 
have made a laughing quartette in many 
places, at many pastimes. She loves to 
fish, to swim, to play tennis and golf. 
She is an outdoor girl — no hothouse 
flower. And from her love of the open 
spaces perhaps comes this ability to keep 
her own counsel, to be quiet as few 
women can be quiet. 

Perhaps her most marked character- 
istic is her fine understanding of those 
very near to her. She is a woman not 
only sensitively attuned to the realities 
of life and the phantasies of the spirit, 
but able to keep each in its place. 

LJOLLY WOOD has frequently wond- 
L L ered how Paulette Goddard has kept 
the steadfast devotion of Chaplin for so 
long. Yet it is no mystery when you 
consider that Paulette is a many-phased 
woman. With her beauty, undoubtedly 
she first attracted him, for he is a man 
over whom beauty casts a spell. But 
other women have failed to hold him 
with beauty alone. Paulette has held 
him because, in addition to her loveli- 
ness, she has those other qualities in 
her nature — companionableness, under- 
standing, intelligence — qualities of the 
mind and the heart that genius demands. 

No woman can hold a man like Chap- 
lin with purely feminine piffle. That 
evaporates. She must hold him with a 
masculine candor, with a masculine 
forthrightness and an uncompromising 
sincerity. This girl is the sort whom 
a genius can love safely, for she knows 
how to love a genius. 

And so this is the extraordinary girl 
whom you will shortly see in Chaplin's 
newest picture — a girl who is sharing 
equally in the interest excited by the 
film so long in the making. That Mod- 
ern Times will mark another epoch in 
movie history goes without saying. 
Chaplin's pictures are always an event — 
with far-reaching effects. As each is 
begun, there is always the question 
whether or not he will talk at last. In 
this one, he again is mute. He is again 
the wistful figure who is a little of 
everyman, everywhere — the comic-pa- 
thetic under-dog, doing the best he can 
in every situation and under all condi- 
tions. But he is in a new setting. 

This picture carries a more vital sig- 
nificance than any of its predecessors. 
It has a direct relation to the world we 
live in today, and the difficulties we all 
face today. But interesting as it is 
in itself, it gains interest in the presen- 
tation of a new screen personality — 
Paulette Goddard — who is a little of 
Everywoman, everywhere ! 


Movie Classic for March, 1936 

Is Nelson Eddy Leaving 
the Screen? 

[Continued from page 33] 

"There are only three or four of the 
existing grand operas that tell stories 
that would be acceptable to the aver- 
age American audience, and there are 
only a half-dozen or so that offer 
'hit' arias. Furthermore, existing 
opera is in Italian, German or French 
and will not readily stand translation. 

"I have not been given great music 
to sing for the screen and I don't ex- 
pect that I will in the immediate fu- 
ture. However, I am encouraged by 
the fact that there is a definite up- 
swing of interest in music. I am con- 
vinced that eventually operas will be 
screened in their entirety — but they 
will not be the operas that are now 
existent. They must be operas writ- 
ten especially for the screen, capi- 
talizing on the great scope offered by 
the screen, and based on stories suit- 
able for American screen audiences. 

"We have great composers, artists 
who are capable of creating great 
music — and almost every one of the 
stories screened today would be suit- 
able for an operatic libretto. The 
whole difficulty lies in the fact that 
the public is not yet ready for great 
music. Our foremost composers are 
being business men, instead of artists. 
They can make fortunes every year 
by writing for popular taste, so why 
try to create great music? 

"T DON'T look for such a screen 

■*■ development for a good many 
years to come, but it is on the way! 
And I am grateful to have any part 
in it. Even the hope that it will 
eventually be realized is enough to 
keep me interested in pictures, en- 
tirely aside from the fact that screen 
success is forwarding my concert am- 

"Meanwhile, I want more time 
away from the screen. I have had at- 
tractive offers of opera engagements 
and concert work in Europe and in 
South America. I want to be able to 
accept such offers, at least occasion- 
ally and I cannot do so if I continue 
to give a full eight months out of 
every year to pictures." 

The fact is, of course, that Nelson 
Eddy is a crusader. Talking with him 
about music, one cannot miss the fact 
that he values a chance to sing one 
great song more highly than he values 
salary or fame. 

The world may find it difficult to 
understand why he rejected an offer 
to do one picture this spring for a 
salary that would have established an 
all-time record. He refused simply 
because he had already arranged his 
concert tour and had no time for it. 

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stand a sincere artist who visions 
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A Miracle Happened to Richard Dix 

\_Continned from page 51] 

moved to Hollywood, and lived there 
three years just to breathe the same air 
as her hero. At the time of his first 
marriage, he disappeared for several 
days before the ceremony, and rumor 
had it that he was hiding to keep out 
of the way of disappointed ladies who 
wished to reproach him for not falling 
in love with them ! 

"It is strange, Rich," I said, "that 
this should have come to you after all 
this time — and after all the women that 
you have known — " 

He did not speak for a moment, star- 
ing grimly before him as though see- 
ing them pass in review — the sentimen- 
tal, the neurotic, the frustrated, the 
scheming, the curious, all the women 
who try to meet a popular actor. Then 
he turned to me. "It wouldn't have made 
any difference wJicn I first met Vir- 
ginia," he said quietly. "She is the girl 
that I have been looking for all my 

Good actor though he is, Richard Dix 
has always seemed to me oddly out of 
place in the movie world. He has wanted 
out of life so much less than the glitter 
and excitement, the fine cars, immense 
houses and the yachts that screen fame 
means to so many stars. Or rather, he 
has wanted out of life so much more 
than these things, for what this big 
husky ex- football hero was really look- 
ing for in Hollywood was the sort of 
home he remembered as a child — a quiet 
place, filled with comfortable furniture, 
books, and affection. He was really 
seeking the kind of life he had left be- 
hind to become a famous screen star. 

Hollywood is hardly the place to find 
such things and so Richard Dix became 
a cynic . . . Hollywood is hardly the 
place to discover quiet-eyed girls who 
have no other ambition in life than to be 
wives and mothers, and so Richard Dix 
became a bachelor again after one short 
sally into matrimony that left him em- 
bittered against the institution . . . And 
then the miracle happened. 

'"IPHE way I met Virginia was noth- 
■■■ ing less than that," Richard told 
me. "It seems as if it must have been 
meant, somehow. Out of all the women 
in Hollywood, three thousand answered 
my ad for a new secretary. And out 
of those three thousand, my Uncle Jo- 
seph picked eight for me to interview 
myself. After one or two of their names, 
he had marked a cross to show that he 
liked them especially. After one name 
— Virginia Webster — he had put five 
crosses. 'That girl must have made a hit 
with you,' I told him. And he replied, 
'Yes. She seemed like a nice little thing 
with no nonsense about her, and pretty, 
too !' So I talked with her first — -" 

"I knew pretty early in our acquaint- 
ance that I was attracted to Virginia, 
but I tried not to fall in love. I had de- 

cided that I was done with all that sort 
of thing. Still, I dictated more letters 
than I ever had before. The first time 
I asked her out to lunch, I argued with 
myself about it. T wouldn't if I were 
you, Rich, old man,' I told myself. 'She 
might think you were getting fresh. She 
would probably turn you down.' And 
then I found myself blurting out like 
a great schoolboy, 'How about a bite to 
eat?' and she said, 'I'd love it.' So we 
went to a lunchroom and had chile and 

This is not a Hollywood romance that 
Richard Dix relates to us, but the love 
story of a Minneapolis boy who called 
on a girl Saturday nights, carrying her 
gifts of flowers and candy. It is the 
quiet, simple love story he had dreamed 
of and found — after many years. 

"VIRGINIA turned me down when 
* I first proposed to her," Rich con- 
fessed. "She didn't think we knew each 
other well enough. She couldn't guess 
that I had known her always ! So I de- 
cided to get away from everything and 
go around the world. I got as far as 
New York. But I just couldn't go on 
without one more try. I bombarded that 
girl with telegrams and letters until she 
had to get on the train, and come on 
and marry me to get rid of me." 

They live so quietly that Hollywood 
seldom sees them. The movie gossipers 
might think that Richard Dix had re- 
tired from the screen, except for one 
thing. His popularity has received a 
strange impetus recently. His fan mail 
has increased. One of the first Ameri- 
can stars invited to England by Gau- 
mont- British, he has recently scored a 
big hit in G-B's Transatlantic Tunnel. 
Box-office returns prove that people have 
been going to see him even in such un- 
pretentious pictures as West of the Pe- 
cos and The Arizonian. Perhaps happi- 
ness does photograph ! 

"Virginia and I once saw a movie 
called The Man Who Reclaimed His 
Head," Rich told me. "Well, I'm The 
Man Who Reclaimed His Heart. I can 
hardly believe I am Richard Dix some- 
times. Virginia hasn't any ambitions to 
be a screen star. She doesn't want to 
make a society light out of me. For 
some strange reason, she likes me the 
way / am. We don't go out to big par- 
ties. We lead the life of average mar- 
ried people — if they're lucky — in any 
town in the United States." 

And thus one man's dream came true 
in Hollywood where so many dreams 
have smashed to glittering bits. Thus 
one actor has been able to have the life 
he wants in spite of Success, which usu- 
ally foists its own scheme of things on 
a man. It is a life of simple human hap- 
piness, family dinners, discussions of 
books before an open fire, youngsters 
growing up in a happy atmosphere. 


Movie Classic for March, 1936 

Handy Hints 


Anita Page reveals that she achieves 
attractive privacy by using Clopay shades 
— the new, inexpensive Venetian type of 
shades becoming so popular in Hollywood. 
"They're so inexpensive," she said, "that 
when I tire of one particular color, I buy 
a whole new set." . . . Onslow Stevens is 
crazy about plenty of hot, buttered toast 
and keeps a Manning & Bowman toaster 
on his breakfast table to satisfy that crav- 
ing — always with a golden-brown delicious- 
ness . . . Glenda Farrell, who is an efficient 
little housekeeper, offers some suggestions 
on the uses of salt. She says that a good 
way to remove stains from china and earth- 
enware is to rub the stains with salt moist- 
ened with a little water. Dirt may be re- 
moved from curtains by soaking them in 
water to which Worcester Salt has been 
added. Moths keep out of carpets if the 
floors are scrubbed with a strong solution 
of Worcester Salt and hot water . . . Mar- 
lene Dietrich, who is one of the best cooks 
in Hollywood, says that most American 
cookery is flat-tasting. Housewives, there- 
fore, might take a tip from some of the 
leading hotels, which use Angostura Bit- 
ters to add flavor and zest to soups, fish, 
and salads . . . Studio wardrobe departments 
have discovered an important development 
in electric irons in the new Proctor & 
Schwartz product. With the Dial of Fab- 
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another piece of material you are ironing. 
Just turn the dial to the name of the fab- 
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automatically . . . After polishing your fur- 
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the polished surface? If you can, you have 
used Liquid Veneer on your furniture. Try 
the polish that passes Hollywood's "white 
glove" test — Liquid Veneer . . . Maxine 
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My Ten Commandments for Personality 

[Continued from page 12] 

choose Loretta Young for the leading- 
feminine role because of her beauty 
alone. There may be several girls work- 
ing as 'extras" in this picture who are 
greater beauties than Miss Young. But 
where else, in what other actress, could 
one find such delicacy of feeling, with 
such a spirituelle quality shining from 
her eyes ? Just looking at her will re- 
deem faith in ideals. One can believe 
that she would sacrifice much to adhere 
to a high principle. Her outstanding 
personality, not just her beauty, makes 
one believe this, and is the reason why 
I chose her for so important a role as 
Bcrcngaria, bride of Richard, the Lion- 

Perhaps your own personality goes 
far afield from that of either Miss 
Swanson's or Miss Young's. But that 
is no reason why you should wish to 
pattern yourself after these lovely ladies. 
Let me point out other stars who are 
utterly different, yet just as glamorous, 
and may be more your own type. 

There is Ginger Rogers, the very spirit 
of youth and gaiety. Completely herself, 
and thus unlike all others, she has etched 
a portrait of beauty that, is an expres- 
sion of the age in which we live. Such 
is Ginger's personality. 

Norma Shearer typifies intelligence. 
One feels that here is a lady who has 
her regal head well set on her lovely 
shoulders. She knows her world and 
how to conduct herself in it. You be- 
lieve that she never loses perspective, 
because she is fortified by inherent 
breeding and refinement. Yet she could 
no more be a Hepburn than could Hep- 
burn be anyone but herself ! And no one 
is so utterly herself as this girl ! Beau- 
tiful? Some call her that, and justly, 
but hers is no beauty of feature ; rather, 
a verve and dash infuse all that she does 
and make it seem important and right. 

"PVERY WOMAN should learn the 
tricks that glamorous actresses de- 
velop through years of study and train- 
ing. She should realize the importance 
of deciding what the outstanding facets 
of her personality are, and then do 
everything to enhance them, from dress- 
ing as she should to lifting a glass to 
her lips "in character." That is what 
a director teaches an actress — the ex- 
actly fit way for a certain type of person 
to act in a certain situation. And, with 
this kind of instruction, many a director 
besides myself has taken many an un- 
known and developed what she already 
had so that in time she came to be 
world-famed as a beautiful, glamorous 
figure. There is no time when the illu- 
sion of beauty is not just as acceptable 
as genuine beauty ! 

Yet, as a warning, let me advise you 
not to make an effort merely to be "dif- 
ferent." (Commandment Number three: 
Don't try to be "different.") Being 
"different" does not necessarily make 

you more desirable, more important, or 
more beautiful. Not at all. It fre- 
quently makes women silly, affected and 
ridiculous. Katharine Hepburn, for ex- 
ample, is disposed to do eccentric, often 
unparalleled things. But merely aping 
this one phase of her nature will not 
gain you those excellent characteristics 
that conspire to make her the artiste 
that she is. If you haven't everything 
that she has, why adopt any of her idio- 
cyncrasies ? 

As I have said time and again, per- 
sonality is just another name for gla- 
mor. But all too often people confuse 
opulence with both. (Commandment 
Number Four : Don't confuse riches 
with glamor.) The spectacular has a. 
natural tendency to be glamorous, be- 
cause it stimulates the imagination. But 
simplicity itself can be spectacular. 

A woman who has been bending over 
a washtub all day, or one who stands 
for long hours in her kitchen cooking, 
can be as glamorous as any Hollywood 
star ! You have seen Joan Crawford, 
without any outstanding physical at- 
tributes, develop into one of the most 
arresting women of the screen, and 
enact a scene in a gingham frock with 
every bit as much glamor and person- 
ality as in a lavish Adrian creation ! 

f^LAMOR never changes. At least, it 
^-* hasn't changed in twenty years ! It 
is something developed from within, and 
you can have it just as surely as can 
anyone else on earth. So be cautioned : 
Don't be a faddist! (Commandment 
Number Five.) The smart girl of today 
develops her personality along lines that 
are going to outlive those of her sister- 
competitors, that will be as attractive 
next year as next week. 

Some people make the mistake of 
thinking Mae West is part of a fad, 
and that her style is a thing of the 
moment. Do I think so ? Not at all. 
The woman who wears trousers, smokes 
like a man, and who paints her finger- 
nails a deep blood-red is slated for not- 
too-far-distant oblivion. But not Mae. 
She has that indefinable quality that at- 
tracts — a personal magnetism that in- 
stantly claims attention and admiration 
— an outstanding personality. But she 
is smart enough to build it up on the 
swelling curves of the eternal feminine. 
Femininity will never be outmoded ! 

The greatest trouble I find with 
women who are born beautiful is their 
inclination to be self-satisfied. By simply 
existing, they feel that they are contrib- 
uting quite enough to the world. They 
are thoroughly spoiled by life and feel 
no urge to be pleasing, to improve them- 
selves, or to exhibit any real emotion. 
Their self-satisfaction makes them too 
absorbed in their beauty to be beautiful ! 

So, in reality, their greatest asset 
becomes their most serious impediment. 
It is an unfortunate paradox. Don't be 


Movie Classic for March, 1936 

self-satisfied ! (Commandment Six.) 

("\N THE other hand, a self-made 
^Hbeauty contributes the verve of taut 
energies, and the agility of her brain 
gives her a far more interesting expres- 
sion than the blank stare of the here-I- 
am-come-and-take-me beauty. Don't 
ever feel that shortage of natural beauty 
will make you hopelessly unattractive. 
Just as long as you are anxious to im- 
prove, and determined to develop your- 
self to the utmost, you have every right 
to expect that people will be attracted 
to you by your personality. (Com- 
mandment Number Seven : Don't be 
too indifferent to learn !) 

The beauty who is afraid to feel 
honest emotions is like a bird that fears 
to use its voice or a bud that never 
opens. (Commandment Number Eight: 
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ty is a promise — no more and no less. 
It attracts and arrests ; but, without 
more, it cannot hold. Women should 
not be afraid of facial lines. By this, 
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creases, but those that print character 
on a face. Personality does that. As 
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ness, said: "One's eyes are what one 
is; one's mouth what one becomes." 

What you must guard against are not 
so much your hopes and aspirations, 
your disillusionments and disappoint- 
ments, as your triumphs and successes ! 
Nothing can spoil you so quickly or so 
irreparably as too sudden and complete 
admiration, too flattering and insincere 
praise. (Commandment Number Nine: 
Don't let life spoil you!) 

TF I were a young woman with the 
A whole world before me, I would make 
up my mind precisely on what to "buy" 
with my personality. A career? A hus- 
band, a home and children? Or the 
permanent role of butterfly and jolly 
good fellow? I couldn't have them all. 
I wouldn't fool myself or let anyone 
else fool me into thinking that I could. 
Knowing that beauty never lasts, I 
would think of charm as the most for- 
midable barrier to those things that we 
fear will overtake us during middle-age. 

And last, but most important of all, I 
would never "disguise" my personality, 
any more than I would mask my face. 
(The Tenth Commandment: Don't dis- 
guise your personality!) I would be 
essentially true to myself and what I 
wished to stand for. I would be as 
willing to use every personality aid at 
my command as to use cosmetics and 
beauty aids to enhance my looks. For, 
in every nature, there is some essence 
of charm which only needs accentuat- 
ing. By dramatizing this charm in ac- 
cord with the vision I have seen in my 
mind's eye, I have given the world what 
it has pleased to call beauties ! 

To you I say that each life, each ad- 
venture is a personal "Crusade." There- 
fore, through the power of your person- 
ality, direct your own spectacle so that 
you will become the top — the heroine 
of your own group ! 




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At Last — a Five-Star Picture! 

[Continued from page 31] 

~k Name 

i Address- 

X City 


is one of the most absorbing "produc- 
tion stories" ever told. 

It all started when Charles Blake, 
a Chicago newspaper reporter who had 
covered the quints from the beginning, 
conceived the idea for a motion picture 
story about them. Several studios had 
already tried, in vain, to have the 
quintuplets appear in brief sequences in 
various films — but none had yet con- 
ceived of a story revolving about them, 
not just exhibiting them. Blake sold 
his idea to Darryl Zanuck, production 
head of 20tTi Century-Fox, and famous 
before this for dramatizing stories be- 
hind headlines. 

Zanuck dispatched his confidential 
agent, Joe Moscowitz, under strict or- 
ders of secrecy, to the quintuplets' official 
guardians in Canada. Moscowitz, em- 
powered to make a royal offer for the 
privilege of starring the quintuplets, 
brought home the bacon — the Canadian 
bacon. The offer, it is reported, was 
$10,000 per quintuplet for the appear- 
ance of the five as the stars of The 
Country Doctor. 

The instant that Joe Moscowitz re- 
turned to Hollywood with the papers 
signed and sealed, Darryl Zanuck 
worked fast. Sonya Levien, ace film 
writer, was asked to develop a screen 
treatment of Blake's story. A director 
was selected — Henry King, one of Hol- 
lywood's best. Jean Hersholt, short, ro- 
tund, jovial and a master of make-up, 
was given the title role. Dorothy Peter- 
son, poised, alert and capable, was given 
the role of the nurse. Dan Clark was 
chosen as cameraman. And in remark- 
ably few days the 20th Century-Fox 
expeditionary force was in Callander. 

DART of the agreement was that Dr. 
*■ Dafoe would be present at all times 
during the daily periods of movie-mak- 
ing, to safeguard the health of his five 
charges. So, before they could do any- 
thing else, Director King and Camera- 
man Clark had to interview Dr. Dafoe. 

Dr. Dafoe later confessed, "I had read 
a great many strange things in the pa- 
pers. They told me that the picture peo- 
ple would build a new wing on my hos- 
pital, if they didn't like the idea of 
doing the filming in the hospital itself, 
that they would bring a carload of Kleig 
lights — and many other things. I was 
agreeably surprised." 

The worries of Dr. Dafoe about this 
business of photographing the quintup- 
lets for the movies could not have 
matched the worries of the movie- 
makers. What if the five youngsters — 
or even one of them — registered fright 
or tears, instead of playing? 

The main part of the one-story hos- 
pital consists of two rooms — one a nur- 
sery and one a playroom, which is 
twenty-five feet long, fourteen feet wide 
and nine feet high. Because of the 
limited space, Dr. Dafoe decreed that 

only five persons — Hersholt, Miss Peter- 
son, Director King, Cameraman Clark 
and Sound Engineer Bernard Fredericks 
— could be in the room with the quin- 
tuplets. All of them were to have their 
throats and noses sprayed before enter- 
ing the hospital. All except Hersholt 
were to wear surgical garments, which 
were to be sterilized daily. All except 
Hersholt and Miss Peterson were to 
wear special slippers on entering the 
room, lest their shoes should carry in 
germs from the outside world. And the 
shoes of Hersholt and Miss Peterson 
were never worn outside the room. 

One important point on which Dr. 
Dafoe satisfied himself before the first 
scene was ever filmed was that the bright 
lights would not injure the babies' eyes. 
Clark had foreseen the raising of this 
question and had developed special lights 
with blue filters that prevented any glare. 
Hersholt, his make-up so skilfully ap- 
plied that he looked like a twin of Dr. 
Dafoe, and Miss Peterson, looking com- 
pletely nurse-like in her white uniform, 
approached the children for the first 
scene. She was to dress them, while he 
was to stand by, man-fashion, fidgeting 
to help. Miss Peterson bent over the 
crib of Marie to pick her up, and the 
youngster reached out her arms to be 
taken — with the result that both the 
make-believe nurse and the make-believe 
doctor "went up" in their lines. 

This was the only time that a retake 
was necessary.. Discovering in a few 
moments that the quintuplets were not 
bashful before strangers or disturbed 
by them, the actor and actress soon shed 
their nervousness. 

In your first glimpse of the quints 
in The Country Doctor, you will see 
them in diapers and little white shirts. 
You w T ill like that first glimpse of 
them — particularly when you remember 
that it was unrehearsed. They were not 
taught to like Actor Hersholt or Actress 
Peterson. Of their own accord, they ac- 
cepted them as companions — instantly. 
And that friendliness and good nature, 
evidenced by all five, will amaze you all 
through the picture — and convince you 
that they are healthy. 

Perhaps you expect to have diffi- 
culty telling the five apart, when there 
is no caption "reading left to right" 
to guide you. In which case, you will 
find Dorothy Peterson's descriptions 
helpful. Marie, she says, is "the tiniest." 
Yvonne — "the largest and most adven- 
turous." Cecile "smiles the most." 
Annette is "the most mischievous." 
Emilie is "the most serious." 

Marie was the quintuplet who took 
a liking to Cameraman Clark and re- 
peatedly walked out of camera range 
one day to become better acquainted. 
Yvonne was the one who jumped up and 
down in rhythm when Miss Peterson 
softly sang. Cecile was the one who dis- 
covered the attractions of Hersholt's 
fountain pen and was bent on seeing 


Movie Classic for March, 1936 



Dr. Allan Roy Dafoe, guardian of the quintuplets' health, oversees a 
vocal operation. Before Dorothy Peterson, who plays the quintu- 
plets' nurse, could come in contact with the famous babies, she had 
her throat sprayed by Real Nurse Lamoureux. Every member of the 
movie company was similarly "disinfected." Dr. Dafoe was of- 
fered the title role of The Country Doctor, but declined it on the 
grounds that he was not an actor. So Jean Hersholt plays the doctor 

him minus his steel-rimmed spectacles. 
Emilie was the one who received the 
unexpected kiss from Yvonne. . . . 

One explanation of their activity is 
the nurses' rigid adherence to the 
schedule that Dr. Dafoe has set for the 
quintuplets. (A word, by the way, that 
he pronounces as "quin-toop-lets"). This 
is the story of their daily lives at the 
present time : They awaken at 5 :30 a. m. 
At 6 they have cod liver oil and tomato 
juice, then rest until 7, when they are 
weighed and bathed. At 8 they have 
breakfast — bread and butter, milk and 
soft-boiled egg. At 8 :30 they are placed 
in their outdoor cribs for their collective 
morning nap. (Only if the temperature 
drops under 20 below do they nap in- 
doors.) At 11, they are brought in for 
an hour of play, followed at 12 :30 by 
their big meal of the day — fruits, vege- 
tables, soups, bread, butter or rusks. At 
1 they are again in their outdoor cribs, 
napping until 3, when they have orange 
or tomato juice and cod liver oil. Then 
they play indoors until 6 p. m., when 
they have oatmeal or porridge, and fruit 
— a menu varied once a week with veal 
or liver. At 6 :30, they are in bed. 

Dr. Dafoe found that they gained 
while appearing before the movie cam- 

In Hollywood, according to California 
law, children two years old can be on a 
movie set for four hours a day and ap- 
pear before the cameras for two of those 
hours. So there can be no outcry about 
the quintuplets "working" before the 
cameras — for twelve minutes a day over 
a period of little more than a week. 
(Figure out what they earned per min- 
ute!) Both 20th Century-Fox and Dr. 
Dafoe made sure that the lights w r ould 
not injure the babies in any way. Note 
when you see the picture that they do 
not squint. 

Joe Moscowitz, the man who arranged 
for their appearance in The Country 
Doctor, returned to Canada with the 

"location" company to see that there 
were no hitches in the scheduled movie 
"scoop." He says : 

"Were they good actresses? Well, 
they were themselves — they were nat- 
ural — which made them the best kind of 
actresses. . . . Many people have won- 
dered why we didn't film them in color. 
It was because of the intensity of the 
lights necessary for color. 

"Toys ? They have all kinds, including 
the wind-up kind. They like anything 
that's new, whether it's a girl's toy or a 
boy's toy. Every day they get five pack- 
ages from somebody. . . . They have two 
nurses, and two armed guards. The 
youngsters don't talk much yet, but I 
think their words are French. They 
'sang' for us — I don't know what — but 
they sang. And it sounded like French 
to me. 

"We didn't take any sequences show- 
ing them being bathed or fed — we were 
there, you see, only during their morn- 
ing play hour — but one scene shows 
them in their high chairs, with spoons 
in their hands. One started knocking on 
her chair with her spoon — and the others 
took it up. One follows the other — and 
they change leaders constantly. 

"They obey their nurses and Dr. Dafoe 
very well — and they're all very fond of 
Dr. Dafoe. They warmed up' to Jean 
Hersholt. too. . . . No, their mother and 
father aren't in the picture. We would 
have liked to arrange it, but we ran into 
difficulties — financial difficulties. The 
parents' roles will be played by a pro- 
fessional actor and actress. We didn't 
see the mother on this trip, but the 
father came over to the hotel one night 
and talked with us. A nice, quiet chap, 
who is fully aware' that he has some 
amazing children." 

And you will soon see those amazing 
children in action! When? Any time 
after March 20th, when The Country 
Doctor — a five-sta.v picture ! — is sched- 
uled for release. 

—there is usually a 
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Movie Classic for March, 1936 


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Why Those Powell-Loy Marriages Are Happy 

[Continued from page 41] 

that now, having her own homes to 
protect on the. screen, she knows what 
to guard against." 

Though each of them will tell you 
that the other is a model screen mate, I 
very much doubt that Myrna and Bill 
ever have paid each other a direct face- 
to-face compliment. They express their 
fondness for each other obliquely, with 
faintly derisive banter — as, you remem- 
ber, Nick and Nora did. To the casual 
observer, they might seem casual toward 
each other — but a closer look would dis- 
cover that beneath their casualness is 
humor and a full complete respect for 
each other. 

It's that grand and easy spirit of com- 
radeship that has made their screen 
union such a popular model for a mod- 
ern marriage. And that same spirit, de- 
veloped through their two previous pic- 
tures, is what caused their selection to 
portray one of the theatre's grandest 
couples : Mr. and Mrs. Florenz Ziegfeld. 

They are not attempting to imperson- 
ate the Ziegfelds. Bill retains his mus- 
tache, although Ziegfeld was smooth- 
shaven. Myrna looks far more like an 
older Myrna Loy than like a carbon 
copy of Billie Burke. They simply are 
interpreting the character of two vivid 
personalities who already have become 
legends on Broadway. 

DILLIE BURKE, who, as everyone 
*-* knows, married Florenz Ziegfeld at 
the height of his career and remained at 
his side throughout all the vicissitudes 
that beset him after 1929 until his death 
three years later, has kept very close 
to the M-G-M production. She was on 
the set during the polishing and rehears- 
ing of the script by William Anthony 

McGuire (who was Flo's own play- 
wright in the old days), and she has 
added her voice to the general approval 
of the casting of Bill and Myrna for the 
parts of her late husband — and herself! 

A strange sensation, that must have 
been — seeing herself portrayed by 
another woman — seeing her own hus- 
band being reincarnated in the form 
and figure of another man ! Both Powell 
and the studio had far too good taste 
to ask Miss Burke to sit in on those 
intimate little scenes that make a char- 
acter true or false — but she volunteered 
for the task. She spent long hours with 
Bill, mostly in reminiscing, drawing the 
fine details of Ziegfeld's character and 
mannerisms — the roll and droop of his 
cigar, the nervous habit of tapping it 
gently, the hundred and one other casual 
details that delineate a man so surely, 
deftly . . . Hers was a task probably 
never before tackled by a man or woman 
in the history of the theatre, but a task 
gallantly performed. 

After the first day's actual work, dur- 
ing which Miss Burke sat watching the 
action with a peculiar, ineffable sadness 
in her eyes, she sent Bill a telegram : 


Is it any wonder that Bill and Myrna 
are turning in the performances of their 
lives? In this, their latest screen mar- 
riage, they have all the ease, charm and 
humor that have practically set a new 
standard of actions in the modern mode 
of living, plus a story rich in drama — 
the story of the life of America's great- 
est glorifier of feminine beauty, the 
producer of the show of shows, The 
Ziegfeld Follies, and his wife . . . Mr. 
and Mrs. Florenz Ziegfeld ! 

He flies through the air with the greatest of ease, does Eddie Cantor in Strike 
Me Pink. Maybe it's faked; maybe it isn't. Anyway, it's a great "action shot" 


Movie Classic for March, 1936 


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The Latest Reviews 

[Continued from page 23] 

shadj- lah-de-dah Englishman (Arthur 
Treacher) and a mellow ex-convict (War- 
ren Hymer), who make the journey more 
hilarious. (Republic) 

The Bohemian Girl will make operetta- 
lovers scream with dismay and will make 
Laurel-and-Hardy addicts scream with de- 
light. The original operetta story still is 
there, but practically hidden under a bar- 
rage of laughs— Laurel-Hardy gags. And, 
like the Marx Brothers in A Night at the 
Opera, they have been smart enough to 
do their clowning against a musical back- 
ground that will also click. (M-G-M) 

Last of the Pagans comes at a time when 
interest in native life in the South Seas is 
high. It is a refreshing, honest story, 
about natives. Mala (of Eskimo fame) 
plays the boy, who faces a tragic separa- 
tion from the girl, played by Lotus Long 
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way to bring them together. (M-G-M) 

Collegiate has pep. catchy tunes, pretty 
girls, novel situations. Jack Oakie, play- 
boy, falls heir to a girls' private school 
that is losing money. He and his wise- 
cracking press-agent (Xed Sparks) put it 
back on its financial feet by making it a 
bright young playboy's idea of what a 
girls' school ought to be. The three R's 
are discarded and courses in poise, make- 
up and smart dressings are substituted, 
and the girls go through their lessons to 
music — tuneful music. Frances Langford. 
as the secretary he inherits, puts across 
most of the songs ; Joe Penner, as an 
amnesia victim, has some amusing mo- 
ments. (Paramount) 

Three Live Ghosts is an old favorite giv- 
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American soldier and a young Cockney 
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dead and who don't mind, show up at a 
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three live ghosts — all completely life-like — 
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and Claude Allister. (M-G-M.) 

• -ik- 
Freshman Love is built around a crew 
coach, in despair about finding the kind .of 
men he wants, who uses Patricia Ellis as 
a lure to attract them to his school. Frank 
McHugh is the bustling coach. (Warners) 


Are the Players You Should Have 

Named on Page 64 


Norma Shearer. 


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It's Time You Knew Margo! 
[Continued from page 39] 

How PLUTO WATER Relieves 

they came to California where they 
had many relatives. While spending 
part of her time with an aunt, Margo 
had her first serious misgivings about 
her future. 

"My aunt was very beautiful, so 
beautiful that I recognized my own 
homeliness. I was really an ugly 
duckling, with spindly legs, an amaz- 
ing collection of freckles and little 
eyes about so big," said Margo, 
squinting expressively. "By compari- 
son with my beautiful aunt, I was 
hopelessly unattractive. I began to 
doubt that anybody could bear to look 
at me, even if I became the world's 
finest dancer." 

Then Margo began to grow up, her 
freckles began to vanish and her thin 
body filled out. She will never be 
deemed a great beauty, but there is 
so much character in her face that 
mere beauty seems unimportant by 
comparison. Then, too, there is about 
her a tremendous vitality and a joy 
of living that is infectious. 

"X/TARGO'S schooling has been lim- 
■^'-*- ited from the standpoint of ac- 
tual hours spent in schoolrooms. But 
her education is broad, embracing 
four languages, with an amazing com- 
mand of English. Self-educated and 
tutored, she is extremely well-read 
and informed. You have only to 
listen to her flow of speech to recog- 
nize her love of words. Words are 
music to her. I am sure that she will 
write some day. 

Her sense of humor is delightful 
and her wit sharp. Yet there is about 
her a sensitiveness to beauty in all 
forms that is her dominant charac- 

Like most sensitive people, she is 
impulsive. Impulse dictates nearly 
everything that she does. An ex- 
ample is the long drives that she fre- 
quently takes alone at midnight along 
the beach of the moonlit Pacific 
Ocean. She has no explanation for 
these drives other than: "I just felt 
like going." 

She has the rare gift of being inter- 
ested in everyone whom she meets. 
Position in the social scale means 
nothing to her. She chats just as de- 
lightedly with prop boys and elec- 
tricians as she might with a duke. No 
wonder Hollywood likes her. 

Once Margo served a brief appren- 
ticeship in the movies as an extra. 
"Just one of a million girls," she says. 
She had only occasional work. But 
every little bit helped financially. Her 
grandmother stood by her, steadfast 
throughout all these hard lean years. 

Then Margo secured a dancing job 
as an entertainer at Agua Caliente. 
From this beginning, she was "dis- 
covered" and became a featured 
dancer at Los Angeles' own Cocoa- 





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Movie Classic for March, 1936 


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nut Grove. This engagement led to 
a Broadway offer. And Margo scored 
a real hit in New York at the Wal- 

r^ EORGE RAFT saw her there and 
^-^ engaged her as his dancing part- 
ner for a personal appearance at 
the Paramount Theatre in New York. 
When first told that Raft wanted her 
to dance with him, Margo refused to 
believe it. "There are so many better 
dancers than I in New York," she 

Nor did she believe it when her 
friend, Jimmy Savo, suggested that 
she might enter pictures in a Hecht- 
MacArthur film to be made in New 
York. "I'm not a good prospect for 
the movies," she told the producers 
when they cast her in Crime Without 
Passion. As the vivid and tragic vic- 
tim of the crime described by the pic- 
ture's title, she scored a sensational 
hit. The movie world sat up and took 
notice of her. Paramount claimed 
her next for the role of George Raft's 
tempestuous Cuban dancing partner 
in Rumba. 

"Movie work is fascinating," says 
Margo with such conviction you for- 
get that you have ever heard anyone 
else say the same thing. "It is also 
hard work, but I don't mind. Nothing 
worthwhile ever came easily. But my 
real joy as a result of being in pic- 
tures is that it allows me to compen- 
sate my grandmother for all her sacri- 
fices in my behalf. I can't begin to 
tell you how fine she has been." 

And the grandmother who encour- 
aged her to become a dancer is seeing 
her become one of today's most prom- 
ising dramatic actresses ! She has the 
principal feminine role — a romantic 
and tragic role — opposite Warner 
Baxter in Robin Hood of El Dorado. 
And at the moment she has the lead- 
ing feminine role (also tragic) in the 
successful Broadway drama, Winter- 
set — which will soon be coming to the 

Watch Margo! There is no one 
else like her on the screen. And the 
actresses who are individual are the 
actresses who become stars ! 

Answers to Question on 

Page 67 


Susan Lenox, Her Rise and Fall. 


Dancing Lady. 




It Happened One Night. 


Public Enemy. 




The Man Who Played God. 




Aggie Appleby, Maker of Men. 


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Patient Is the Word for 
Helen Mack 

[Continued from page 42] 

Mrs. McDougall called Miss Gordon 
at her hotel and asked if she could 
bring her daughter to see her. 
Through some miracle, or perhaps it 
was because Vera Gordon has a big, 
generous heart, a meeting was ar- 
ranged. Helen did her tricks, her 

"Be honest with me," Mrs. Mc- 
Dougall pleaded. "Am I prejudiced 
because I'm her mother — or do you, 
too, see talent in her?" 

"Yes, she has talent," Miss Gordon 

"Then how can I get her a chance 
in the movies ?" 

Miss Gordon advised either Holly- 
wood or New York. (At that time, 
there were several studios in the 

Mrs. McDougall never questioned 
the advice. She sold everything she 
had and took Helen to New York. 

"T WAS too young to appreciate the 
■*■ difficulties we encountered," says 
Helen in talking of those days. "If 
Mother's courage ever failed her, she 
never let me know. The first thing 
we discovered was that in order to get 
stage or screen work I would have 
to be registered at the Professional 
Children's school. That, of course, 
took money, but mother managed it, 
somehow. Then, gradually, I began 
to get work in pictures — where my 
real name of McDougall was short- 
ened to Mack. I played with_ Gloria 
Swanson in Zaza, I had a child role 
in Clara Bow's first starring picture. 
I did a few things on the stage. 

"One of the first things Mother 
taught me was to be self-reliant. 
When we would go to theatrical 
agencies to see about work, she would 
go with me as far as the door and 
then she would send me in alone. We 
had a little speech all figured out. 
'I'm Helen Mack,' I would say, 'and 
I'm an actress. Is there anything open 
for a girl of my type?' I suppose 
there was something about a child 
presumably coming to an office un- 
accompanied, asking for work, that 
attracted attention, for often I found 
work as a result of my little speech." 
At sixteen Helen did a "single" in 
vaudeville. Then she went into a 
Broadway show called Subway Ex- 
press. She attracted the attention of 
Albert Parker, a movie director, and 
he sent for her to make a screen 

«<TN THE test I was supposed to be 
■*■ a woman of twenty-five who had 
been married and had a lover," says 
Helen. "I had no conception of the 
meaning of the scene I was supposed 
to play. But the director explained 
that he just wanted to see what I 
could do with it. 'You're not a 

Movie Classic for March, 1936 



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straight ingenue,' he said. 'You're a 
dramatic type and if you ever let 
anybody try to make a sweet, sugary 
heroine out of you, you'll be a flop." 

The test resulted in Helen's winning 
a Hollywood contract. And the first 
thing the studio did was to make her 
black hair red and put her in a sugary 

"I knew it wasn't the thing I could 
do best," says Helen. "But I was so 
thrilled that at last I had a real break 
and was on my way to being a movie 
star, that I was glad to do whatever 
they told me." 

She played in a couple of other pic- 
tures and was bad in all of them. The 
studio promptly forgot her and she 
sat around Hollywood for nine 
months without doing a thing. But 
since she was on salary, she felt that 
she must report at the studio. So she 
would go out each morning and sit 
around the make-up department, hop- 
ing against hope that somebody 
would see her and decide to put her 
in a picture. 

A FTER weeks of waiting, she "was 

■*■ given a small role in a play at the 
Pasadena Playhouse. Here again she 
attracted movie attention and another 
studio sent for her. While she was 
waiting in the casting office, an agent 
spotted her. 

"Aren't you Helen Mack?" he 
asked. "I saw you in a picture you 
made a few months ago and I thought 
you were good." 

"He was the first person in Holly- 
wood who had said anything nice 
about my work," says Helen. "I was 
so grateful that it was all I could do 
to keep from kissing him!" 

Since this agent apparently believed 
in her, she decided to let him manage 
her. The result was a role in Sweep- 
ings, in which she made a personal 
hit. Again it looked as though her 
really big break had arrived. But a 
series of inconsequential roles more 
or less nullified the good impression 
she had created. It was not until she 
did All of Me with George Raft and 
Miriam Hopkins that she stirred up 
another flurry of interest. The pic- 
tures that followed have not percepti- 
bly enlarged her roles — even though 
her fair following has grown steadily 
larger. But just you wait. One day 
the right role will come her way, and 
when it does, I have a hunch that 
Helen will zoom to the top. 

She's an intense person — like Joan 
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Joan, she has a driving ambition, plus 
the ability to finish what she starts. 

"So many girls who write me fan 
letters say: 'Oh, if only / could get 
a break, I know I could accomplish 
something.' I'm convinced that in 
Hollywood 'getting a break' is the 
easiest part. And I suspect it's the 
same everywhere else. The really 
tough thing is holding on to your 
belief in yourself when the break 
doesn't turn out as you thought it 
would, and learning to be patient and 
wait for the next one." 


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Leslie Howard Breaks 
the Rules 

{Continued from page 43] 

people and is prone either to wander 
about amongst them like Hamlet's ghost 
(he's about to play Hamlet on Broad- 
way, by the way) or wander far away 
from them and contemplating the whole 
lot — either mentally or with a pocket- 
sized camera. I had a feeling that he 
was about to wander again. People do 
that when you ask them about Holly- 
wood. But Leslie broke the rule. 

"Well, let's have on with it," he 
sighed, "I do like Hollywood — sincerely. 
But the trouble with it is that it's com- 
pletely bound and barred in with cellu- 
loid. You know, in other small cities 
where there's only one industry, like a 
steel mill, you hear people talking about 
nothing but steel and steel-mill politics 
. . . They lose their perspective. The 
steel mill becomes the biggest thing in 
the world to them. The same thing is 
true of Hollywood. People don't talk 
about anything else. Of course, it is in- 
teresting, but one can get fed up with it 
— like kidney pie. 

"I don't like rules like that. If I feel 
a sudden and overwhelming yearning 
to discuss the love-life of an Argentine 
beetle or the effect of Negro spirituals 
on modern dance music, I want to dis- 
cuss it and not have people edge away 
to another group where the topic of 
conversation is what that producer said 
to this star about — " he poked at his 
salad suspiciously — "gaining weight." 

"I suppose I break a lot of Hollywood 
rules. I don't go out places to see people 
and be seen — and, and — hang it all ! 
give autographs and pose for news 
photos and all that sort of thing. But," 
he looked up brightly, a man whose deep 
soul-inspection had brought to light one 
great redeeming feature, "I have been 
to the Trocadero once, and found it 
great fun, too." 

OOWARD utterly refuses to be 
*■ * typed. He's as much an American 
as a Briton, as much a New Yorker or 
Hollywoodian as a Londoner, and he 
reviles the thought of having anyone 
point him out as the net result of a local 
civilization. He's not aloof. Far from 
it ! He's one of the most sought-after men 
wherever he happens to be domiciled. 
One reason for that is his sense of 
humor — a Dry Martini brand of humor, 
pungent, dry and guaranteed inoffensive 
to any taste. This occurrence during 
the filming of The Petrified Forest will 
show you what I mean : 

In a scene in a roadside hamburger 
stand, he was supposed to be getting 
around a plate of soup with a certain 
amount of verve. In so doing, he demon- 
strated himself to be one of the world's 
most silent consumers of soup. His soup 
eating was so silent that it was almost 
weird. Not a slup in a plateful. Archie 
Mayo, the director, looked pained. 

"I think we ought to hear it just a 


That's what Maureen O'Sullivan 
says. And she backs up her state- 
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woman who is married or who 
contemplates marriage. Read this 
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Movie Classic for March, 1936 




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I once had ugly hair on my face and 
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Barbo imparts color to streaked, faded 
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little," Mayo interrupted. "Not much, 
you understand. Just a suggestion of 
a slup. Remember, you're hungry." 

Leslie Howard put down his soup- 
spoon caressingly. He looked up grave- 
ly with not a hint of a smile to go with 
the faint twinkle in his eyes. "I think 
not," he said, "You see, although the 
chap I'm playing is hungry, he is es- 
sentially well-bred. It would distress 
him to eat soup with a perceptible slup. 
It would distress him no end. Slupping, 
or blibbing, as it is referred to in some 
countries, would be quite foreign to his 
nature and ..." 

He continued. The whole vast sub- 
ject of slupping was gravely, learnedly 
brought forth until Mayo suddenly real- 
ized that all was not as it seemed on 
the surface. In fact, he was being 
ribbed. He snorted, then grinned. 

"Okay ! You win ! Play it — or slup 
it — any way you like !" He turned to 
the sound man. "Hey, Lou ! You might 
as well take your mike and go for a 
walk — this is a silent take !" 

The lights went on and the camera 
turned over. Leslie picked up his spoon 
caressingly. Mayo called, "Action!" In 
the cathedral stillness of the set, the 
actor proceeded with his soup — and the 
careful, studied slupping could be heard 
to the rafters. But the. sound man was 
far, far away and Mayo was slumped 
disgustedly in his chair. 

TESLIE HOWARD just likes to break 

' rules for the fun of it when it begins 
to look as though life and the pursuit 
of art were being taken too seriously. 
He has two simple systems that work 
in Hollywood. The foregoing is a fair 
example of one of them, but his best 
method is wandering. 

As a wanderer, he has no equal. None 
but a genius could figure out the places 
to wander to and go to sleep in that 
Leslie can with no apparent effort. One 
of the favorite spots — and all assistant 
directors can herewith take notice — is 
the cat-walk high above the stage. While 
people course about below like mad- 
dened hounds in pursuit of a fox, the 
missing star is having himself a quiet 
time with a small camera, taking inti- 
mate shots of his pursuers looking under 
divans and into bins, calling plaintively, 
"Oh, Mr. Howard!" 

But if he's feeling a bit wan and 
tired and a bit annoyed over the fact 
that Hollywood companies don't always 
stop for a spot of reviving tea at 4 
P.M., he has, very likely, gone in search 
of cars parked about the stage entrance. 
He eschews his own super-sports model 
— because pursuers are apt to look there 
first. So he usually picks a handy limou- 
sine and curls up in the front seat. He 
picks the front seat nowadays because 
once a careless chauffeur didn't see him 
and drove off with him reclining in 
blissful slumber in back. 

Leslie Howard, I'm afraid, is typical 
of no man but Leslie Howard. And more 
power to him ! say I. He lives life with 
lively interest, a tongue in cheek and a 
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Una Merkel's Wardrobe Fits 
the Business Girl 

[Continued from page 45] 

remember to get it loose enough so that 
it wouldn't wrinkle my dresses. The 
first thing I'd get to go with it would 
be a two-piece gray frock. As a matter 
of fact, I did buy one, just the other 
day. And it would be perfect for office 
wear. The skirt is a plain gray woolen 
and the blouse a thin tweed in a red, 
black and gray pattern. I have a belt 
of red suede — with a hat to match. 
(Every woman needs a red hat occas- 
ionally.) You see, it's the kind of out- 
fit you can wear just as well without 
the coat this spring. 

"It's wise to plan at least three dresses 
for business — and one of them should 
lead a double life. It should be tailored 
enough for day and 'dressy' enough for 
an informal evening. You know, when 
you haven't time to go home and change 
before dinner. I mean something on 
the order of that black crepe that I 
like so much. It has a gold metallic 
thread woven through it, and it's made 
in a simple shirtmaker style with an 
Ascot tie — so it's discreet enough for 
'office hours.' And 'after hours' you 
can add a bracelet and clip to perk it up. 

"Those good-looking jacket dresses 
are another answer to this pet problem 
of the business girl. You keep the 
jacket on during the day . . . and doff 
it while you're dining with the boy- 
friend. And do you know what Adrian, 
the designer here at the studio, told me ? 
He says we're going to be wearing all 
kinds of period jackets this coming sea- 
son — trim Napoleonic styles and little 
Stuart cape-coats with large flat collars 
and such. Well, it's one time when 
I'm going to cut a Historical Figure ! 

HAVE a personal theory that fig- 
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to a girl's weight ! If you want to 
look slim and 'svelte' as the Frenchmen 
say — or is it the Norwegians ?— why, 
just wear a coat-dress all one color. 

Una's own new coat-dress is a case 
in point. It's a black wool crepe. And 
it's another proof that black may be 
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Which brings us to Una's Three 
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1. Watch out for frills. Ruffles and 
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as very high heels and exaggerated 

2. Avoid eccentric or commonplace 
clot lies. 

3. Don't wear too, too tailored 
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ALL KINDS of GOOD JOBS Practically Everywhere for NURSES, ATTENDANTS 
and OTHERS, with or without hospital experience- 
Many individuals aBBociate a hOBpital only with Doctors. Nursea and 
professional reople never realizing that there are also hundreds of 
people employed with NO PREVIOUS EXPERIENCE, to perform 
many duties in various departments. All kinds of help constantly 
needed. Write FULLY-enclose stamp. . 
SCHARF BUREAU. Dept. 3-2, 145 W. 45th, New York 


Size 8x10 inches 
or smaller iff desired. 

Same price for full length 
or bust form, groups, land- 
scapes, pet animals, etc., 
or enlargements of any 
part of groap picture. Safe 
return of original photo 



ail photo 
<any si2e) and within a week you will receive 
your beautiful life-like enlargement, guaran- 
teed fadeless. Pay postman 47c plus postage— 
or send 49c with order and we pay postage. 
Big 16x20-inch enlargement sent CO. D. 78c 
plus postage or send 80c and we pay postage. Take advantage of 
this nm.i7.ipg offer now. Send your photos today. Specify size wanted. 

104 S. Jefferson St. Dept. 226-C CHICAGO, ILLINOIS 

Movie Classic for March, 1936 


invites ifoul 


I T-JERE'S an invitation to be 
•*• a Larkin Club Secretary. 
Just by introducing our new 
Edna May Dress CI ub you can 
earn charming frocks for your- 
self, as well as other big Re- 
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press! It brings you America's great- 
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tle street frock in this advertisement. 

Mail a postcard to-day. Just say: 
'Send me the Edna May Dress fol-. 
der and Club information." 

uu *rkt tx Ckx Inc 

663 Seneca St.. Buffalo, N. Y. 


Without Calomel— And You'll Jump Out 
of Bed in the Morning Rarin' to Go 

The liver should pour out two pounds of liquid 
bile into your bowels daily. If this bile is not 
flowing freely, your food doesn't digest. It just 
decays in the bowels. Gas bloats up your stomach. 
You get constipated. Your whole system is poi- 
soned and you feel Bour, sunk and the world 
looks punk. 

Laxatives are only makeshifts. A mere bowel 
movement doesn't get at the cause. It takes those 
good, old Carter's Little Liver Pills to get these 
two pounds of bile flowing freely and make you 
feel "up and up." Harmless, gentle, yet amazing 
in making bile flow freely. Ask for Carter's Little 
Liver Pills by name. Stubbornly refuse anything 
else. 25c at all drug stores. © 1935, CM. Co. 


, . to ANY (hade you detlre 
.SAFELY in S to IS minutes 

Careful fastidious women avoid the nse of 
peroxide becaoeo peroxide makes hair brittle 
Lechler's Instantaneous Hair Llghlenar 
requires NO peroxide. Used aa m paste. It Cannot streak; Biir- 
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bleached hair. Lightens blonde hair grown dark. Thin la 
the only preparation that oieo lightens the scalp. No 
more dark roots. Used over 20 years by famous beauties, 
stage and screen stars and children. Harmless. Guar- 
anteed. Mailed complete with brush for application. 
J£*DJ£*J£* 06 page bookie* "Tho Art of Lightening Hair 



Without Peroxide" Free with your flrei order. 
ERWIN F. LECHLER, Hair Baauty Specialist 
567 W. jgjgt St.. New York. N. Y. 

Pain In 9 


To relieve the torturing pain of Rheumatism, Neuritis, 
Neuralgia or Lumbago in 9 minutes, get the Doctor's 
Prescription NURITO. Absolutely safe. No opiates, 
no narcotics. Does the work quickly — and must relieve 
your pain in nine minutes or money back at Drug- 
gist's. Don't suffer. Use guaranteed NURITO today- 



Dr. Stotter, a graduate of the University 
of Vienna, with many years of experience 
in Plastic Surgery, reconstructs unshapely noses", 
protruding and large ears, lips, wrinkles around 
the eyes and eyelids, face and neck , etc. , by meth- 
ods aa perfected in the great Vienna Polyclinic. 
plain wrapper.) 

DR. STOTTER, 50 E. 42nd St., Dept. 48-6. K. V, 

paid by Music Publishers and Talking Picture Producers. 
Free booklet describes most complete song service ever 
offered. Hit writers will revise, arrange, compose music to 

your lyrics or lyrics to yoar music. Becure U. S. copyright, broadcast 
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UNIVERSAL SONG SERVICE, 681 Meyer Btdg.. Western Avenue and 
Sierra Vista, Hollywood, California. 

Wear clothes that allow you to be fem- 
inine without being fluttery. 

"A SUIT," observed Una, "is the 

■^*- mainstay of every woman, espec- 
ially the professional woman. And the 
simpler the suit is when you buy it, the 
more you can do with it afterward. For 
you can always make a tailored suit 
sporty if the occasion demands, but you 
can't make a sporty suit tailored ! 

"There's no end to the variety of 
things you can wear with a suit ... A 
spongy wool sweater and matching scarf 
... A dainty batiste blouse and splashy 
flower for your lapel ... A bright, chic 
shirtwaist and blending" handkerchief 
poking out of your pocket when you 
wear your first sassy black straw hat of 
the season . . . One of the new, dressy 
metal-cloth blouses in a dark color. I 
have one of navy blue with a silver 
thread running through it, and with 
novelty gloves to go with it. Little per- 
sonal touches are what give your 
clothes individuality. 

"When it comes to evening dresses, 
I prefer either black or white. And 
I'll tell you why. You can do more 
things with dresses in those two< colors. 
I mean, by way of accessories — chang- 
ing them so that the dress looks dif- 
ferent for different events. That's nec- 
essary if you want to get the most out 
of the money you put in evening togs. 
Usually, you wear a dress at two or 
three parties and your crowd has it 
'spotted.' But there are many things 
that you can do with a quaint white 
taffeta gown — if you're that type. Or 
with a white Grecian chiffon — if you're 
that type. One evening your accessories 
might be green and silver sandals, a 
green chiffon hanky and green earrings. 
Another time you might wear an enor- 
mous bunch of red geraniums and red 
slippers. And a silver metallic cloth 
wrap goes with everything . . . 

"Personally, I love black lace — with a 
pink touch or two. It always makes me 
feel so moonlight-and-rose-ish ! And I 
very seldom tire of it. 

"There are times, of course, when a 
girl wants something utterly 'different,' 
something utterly startling. And those 
are the_ dangerous days ! You're apt to 
walk right into a shop and spend two 
weeks' wages on a dress you'll wear 
once. I know. I've done it . . . 

"You see, the fun is getting clever 
effects at little expense. Style doesn't 
cost big money. And style for the 
career girl makes business a pleasure !" 

liapLftU| IjLq>L 

Men— Women— Children ! 



While working — sleeping — playing 

Actual photographs and informa- 
tion about the Morris Limb 
Straightener sent in plain cover on 
request enclosing JOc. Guaranteed 
construction to individual meas- 

Morris Orthopedic Institute 

Office 3, 612 Loew's State Bldg. 

Los Angeles, California 








f}£** ' Get Mountain Mist at any depart- 

^ ment store and learn as millions have 
•what a difference this improved batt makes. 
You get one of our latest complete working 
patterns regularly selling for 35c— it's printed 
inside the wrapper. There are also color block 
sketches of 19 other 35c patterns with a coupon. 
•which entitles you to order one for 20c 
The STEARNS & FOSTER CO., Lackland, Cincinnati, O. 


^"% REG. U.S. PAT. OFK 


a*, the '■$ 





Lovely, blue-eyed star who is 
returning to the screen in Co- 
lumbia's "TOO TOUGH TO 
KILL" is one of thousands 
of enthusiastic users of Safe- 
Kurl. Such glamorous new 
stars as Barbara Pepper, 
Ann Rutherford and Yola 
d'Avril, beer> their hair 
looking its best at all times. 
m 20 MINUTES AT HOME - ^ t 

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the sensational new Electric Hair Waver. SAFE, 
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pn,fPHfli,,r,ul. "movie-star" wave easily, quickly. 
SAFELY, by electricity. 

Plugs into anv light socket. Uses any ordinary 
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Takes only a few minutes to use." SEND NO 
MONEY! Pay postman only $1.96. plus few 
cents postage, when he delivers your Waver com- 
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Complete direetions included. Satisfaction guar- 
anteed or money back. Mail order today. 



Movie Classic for March, 1936 


Why is Shirley Temple — seen above in 
Captain January — Public Favorite 
No. I today? Everyone has a different 
explanation. What is yours? Tell us! 

lour KJwn \dt 


$15 Prize Letter 

A Hint from Hollywood — In the final 
analysis, you — Mr. and Mrs. General Public 
— are the makers of stars and, equally so, 
the unmakers of them. And here is a point 
that I would like to make. There are in 
Hollywood a number of stars now waver- 
ing on the brink of oblivion because you 
have made too much of them. They have 
gone ego-crazy, demand exorbitant sal- 
aries, forget old friends and, if nothing 
changes them, are on their way out. For 
studios, merely by keeping a player off the 
screen for a time, can relegate him to the 
has-beens — and they do it. So it is my 
humble suggestion that when you learn this 
is the case with some favorite player- — get 
busy. Instead of mash notes, send him some 
to help bring him down to earth. Stars 
listen to fan-mail (it's their box-office 
pulse) and your letters might save them. 
Recently, one of the former great stars of 
the screen confided to me that she knows 
now that she sank to obscurity only be- 
cause she completely lost herself — thought 
the world revolved around her. It didn't ! — 
Mrs. Floe Coolidge, 5555 Hollywood Blvd., 
Hollywood, Calif. 

$10 Prize Letter 

Pertinent Point — I wonder if others, like 
myself, are not irritated at times by music 
out of place in the movies? For instance, 
in Curly Top, Shirley Temple stands in 
her chair at the dinner table and sings 
Animal Crackers in My Soup, accompanied 
by Rochelle Hudson at the piano. Well and 
good. It is a believable incident. But when 
an unseen orchestra joins in, I feel it is out 
of place because my reason tells me that 
orphan asylums do not keep orchestras 
hanging about to accompany little girls who 
sing surreptitiously at table. 

Also, in Naughty Marietta, when Nelson 
Eddy leads his cohorts through the Louisi- 
ana swamps, they sing to the accompaniment 


You can express them here! Tell us 
what you think! You may win a prize! 

of a full orchestra ! Could anything be more 
ridiculous ? Those voices would have carried 
the scene without any accompaniment what- 
ever and been much more realistic. 

My point is this : the very illusion that 
the director is trying to create (and we 
must have a sense of reality built up for us 
if we are to enjoy the films) is often de- 
stroyed, or made impossible, by introducing 
orchestral music into a scene that would be 
more effective were it left out. — Catherine 
Anderson, 42 Riverside Drive, New York 

$5 Prize Letter 

In a recent issue, a reader stated a belief 
that American movies should be for Amer- 
ican players only — and that Hollyzvood 
could dispense with European stars, stories 
and settings. This letter brought a deluge 
of mail doivn upon our heads. Fully a tenth 
of this month's mail was on this one subject. 
The majority of correspondents disagreed 
with the attitude expressed in Reader 
S chuff's letter, on these grounds: 
In Defense of Foreign Stars — Why not 
give us foreign movie stars who are not 
merely trading on their foreign names and 
reputations, but are honestly good? Who 
can forget Charles Laughton's perform- 
ances in The Private Life of Henry, the 
Vlllth, Les Miserables or Ruggles of Red 
Gap ; who can forget any of Leslie Howard's 
pictures or Merle Oberon's The Dark 
Angel f . . . To deny ourselves the pleasures 
that such performances can give us would 
be like denying ourselves the pleasures of 
reading all of the Old World Literature. 
No sensible person would listen to a pro- 
posal that we should not read Shakespeare 
simply because he was not an American, 
but this is just what the reader was pro- 
posing when he suggested that Hollywood 
should no longer use foreign stars. Europe 
is old in the art of acting and we, as Amer- 
icans, would be foolish if we did not avail 
ourselves of the best that European talent 
can afford us. Please do not take this to 
mean that I think our own stars are not 
good. I am simply saying that it would be 
poor judgment to discontinue using foreign 
stars simply because they are foreign. — 
Dorothy Cross, 1003 E. 53rd St., Chicago, 

$1 Prize Letters 

Also, in a recent issue, we mentioned the 
persistent Hollyzvood report that Fred 
Astaire and Ginger Rogers might be sep- 
arated as a screen team, going their indi- 
vidual starring ways. We asked if readers 
approved. This also brought a downpour of 
letters — and the end of them apparently is 
not yet in sight. To date, the tzvo schools 
of thought are about equally divided, along 
these lines: 

Foresees an Eruption — Separate Rogers 
and Astaire? Behead the first executive who 
dares to suggest it ! They alone were re- 
sponsible for the rise of musicals and if 
they are separated, you will have the im- 
mediate downfall of the musicals, also. Why, 
to break up this team would be like taking 
the curls from Shirley Temple; the voice 
from Grace Moore ; the cream from coffee ; 

and U. S. from U. S. of America. Ginger 
without Fred is like beautiful scenery with- 
out an artist, and Fred without Ginger is 
an artist with a crippled hand. Please, don't 
ever suggest the horrifying thought of 
breaking them up. Together, these two 
stand for happiness, wholesomeness, beauty 
and everything good in life. If someone 
wants a movie eruption, just break up this 
team! — Mildred Sheridan, 1591 Dorches- 
ter Ave., Boston, Mass. 

Favors Partial Parting — I think it would 
be a very good idea for Ginger Rogers and 
Fred Astaire to be separated for a while. 
Of course, the public loves them together, 
but I'm afraid it would tire of them if it saw 
them co-starred too frequently. Starred 
separately, they would prove whether or not 
they could make equally successful pictures. 
Fred Astaire is just as good an actor as he 
is a dancer and single stardom would give 
him a chance to show his talents as an actor. 
Ginger Rogers also is successful as a dra- 
matic actress. I think it would be suitable 
for them to be co-starred in two pictures 
annually. When the time came for them to 
be together, the public would look forward 
eagerly to their pictures and they would 
certainly be, and stay, public favorites. — 
Helen Gronowski, Blossburg, Pa. 

New Discovery — Hollywood has done it! 
It has found a man as handsome as Clark 
Gable and as fine an actor as Leslie 
Howard, and cast him perfectly in a fast- 
moving, thrilling drama. I predict that, as 
Peter Blood, he will become one of the most 
popular actors on the screen. Errol Flynn, 
here's to you ! — Scottie Fitzgerald, Cam- 
bridge Arms Apts., Charles and 34th Sts., 
Baltimore, Md. 

A reader raises a provocative question 
in the follozving letter: 
Big, Happy Family — If my family sud- 
denly went back on me, and I had to choose 
my family from the movies, whom would 
I choose ? Here they are : Grandpa, George 
Arliss ; Grandma, May Robson ; Father, 
Frank Morgan ; Mother, Pauline Lord ; 
Sister, Rosalind Russell; Brother, Nelson 
Eddy ; Husband, Charles Boyer ; Children, 
Jane Withers and Freddie Bartholomew. — 
Mabel Baker, 3874 West 10th Ave., Van- 
couver, B. C, Canada. 

WHAT is your favorite movie topic 
— your reaction to new pictures, new 
performances — your newest idea for 
the betterment of films? 
Tell us, and you will also be tell- 
ing the world. And be in the run- 
ning for one of these cash prizes 
for each month's best letters: (l) 
$15; (2) $10; (3) $5; all others pub- 
lished, $1 each. 

The editors are the sole judges and 
reserve the right to publish all or 
part of any letter received. Write 
today to Letter Editor, MOVIE 
CLASSIC, 1501 Broadway, New 
York City. 





Everybody Wants It! 





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Picture Reproduced in Lifelike Colors 



Mother love is as old as 
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finer tribute to your 
mother than by wearing a 
smart portrait ring with 
her photo on it. 


Imagine how eager proud 
father and mother will be 
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Every wife will bo de- 
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The POHTRAIT BING is new, novel, and the most sensational selling idea in years. By 
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All you need is a sample ring on your 
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ring for which thousands have paid 
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week. 20 orders a day not impossible. 
Rush your order for Sample Bing now — 
send any photo you want reproduced. You 
take no risk. You must be satisfied, or 
money is refunded. 




Bend no money — not even one cent. Don't send $3.00, which is regular price of 
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Twelfth & Jackson Sts. 

l.'Mm.llld.l.'l a .l:Ul'l-JH:ll.'lA> 



Dept. G-33 

Cincinnati, O. 

Twelfth & Jackson, Cincinnati, O. 

Enclosed is photo. Please rush my indi- 
vidually made Portrait Ring in lifelike 

colors (regular $3. 00 v alue), and complete money-making plans and FREE 
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on delivery. If I am not entirely satisfied I may return ring within 5 days 
and you will refund my money. 





(By enclosing $1.00 with coupon you 


save postage) 


Miss Mary de Mumm 

"Camel's flavor is so mild that you 
enjoy the last one as much as the 
first. In the enjoyment of smok- 
ing and in its effect, Camels cer- 

Miss Vivian Dixon 

"I always smoke Camels — they're 
so much milder and smoother. And 
I never get tired of their flavor. 
Camels never give me that 'I've 

Miss Mimi Richardson 

"Smoking a Camel is the quick- 
est way I know to relieve fatigue. 
Camels always refresh me. And 
I love their taste. They seem to 


"Enthusiasm is very contagious. 
Look at the way the smart young- 
er set are all smoking Camels. I 
think I know why. Camels never 

tainly make a great difference." been smoking too much' feeling." be milder than other cigarettes." affect your nerves." 

You either like Camels tremendously 
or they cost you nothing 

We have a vast confidence in 
Camels. First, we know the to- 
baccos of which they are made 
— and what a difference those 
costlier tobaccos make in mild- 
ness and flavor. Then, too, we 
know the genuine enthusiasm so 
many women have for Camels. 

We are, naturally, most anx- 
ious to have you try Camels — 
to smoke a sufficient number 
to be able really to judge them. 
And of course it's only fair that 
such an experiment be made 
at our risk. If you don't like 
Camels, they cost you nothing. 
If you do like them — and we're 
sure you will — their flavor, their 
mildness, the new pleasure 
you'll get from smoking them, 
will make this experiment worth 
your while. 

We invite you to read and 
accept our money-back offer. 

1 1 Loney-Cy^)a.cK cJnvitation 
to iry V^amels 

Smoke 10 fragrant Camels. I£ you don't 
find them the mildest, best -flavored 
cigarettes you ever smoked, return 
the package -with the rest o£ the ciga- 
rettes in it to us at any time within a 
month from this date, and we -will refund 
your full purchase price, plus postage. 


Winston-Salem, North Carolina 

© 1936. R. J. Reynolds Tob. Co. 


Camels are made from finer, MORE 
Domestic — than any other popular brand. 





Has Done to 

Vfyrna Loy 

Ginger Rogers 

Dress Like a 

STAR! Win 

Bollywood TRIP ! 

Loretta Young 

Star of the 20th Century-Fox Production 
I "Lightning Strikes Twice'' gM 


Lux Toilet Soap guards against Cosmetic Skin../' 

girls, I do," says lovely Loretta Young. "But 
I never risk Cosmetic Skin." 

Avoid dangerous pore choking Loretta 
Young's way. Use the soap with ACTIVE 
lather that goes deep into the pores — removes 
every trace of dust, dirt, stale cosmetics. 
Then you guard against Cosmetic Skin — 
dullness, tiny blemishes, enlarged pores. 

Before you put on fresh make-up during 
the day — ALWAYS before you go to bed, use 
gentle Lux Toilet Soap. This simple care 
keeps skin lovely — as you want yours to be. 


/loose your Permanent Wave 

just as though YOU were a star 

says Perc Westmore, famed hairstylist 
and cosmetician of Warner Bros. Studios 

9S3 HEN your job, your income and your happiness 
itself, all depend upon your beauty," says Mr. West- 
more, "choosing a permanent wave becomes serious busi- 
ness. You can't 'try on' a permanent and once you've got 
it — it's yours until you can grow a new head of hair. 
No room for guessing. No time for experiments. 

"I think if Duart Waves were to cost $100, screen 
stars would gladly pay the price to safeguard the loveli- 
ness of their hair and to insure a soft, lustrous wave 
of glorious natural beauty. Fortunately for them and 
for you, Duart Waves cost no more than ordinary 
waves. In every city from coast to coast, there are 
several shops where you can have your hair waved with 
Duart's Certified Waving Solution and Sealed Waving 
Pads, the identical materials used in our own Hollywood 
salons to wave the loveliest, most celebrated heads in 
the world 

"Choose DUART for your next wave just as though 
you were a star — it costs no more — yet think of the 
thrill of knowing your hair will have the same lovely 
feminine glamour everyone admires on the screen." 

Copy a screen star's hairstyle if you like. The new 1936 
Hollywood Coiffure Booklet will be sent you FREE with 
one ten-cent package of Duart's Hollywood Hair Rinse 
—not a dye — not a bleach — just adds sparkle and tint. 


CQ^c) DIMRT e=^^ 



FOR A GENUINE DUART WAVE DUART, 984 Folsom Street, San Francisco, California. 

SEE LOVELY PATRICIA ELLIS Enclosed find 10c; send me shade of rinse marked and 

.......... ............ ._»...,_., r,~~~..-,..~... copy of your booklet, "Smart New Coiffures." 


DDark D Henna D Ash . White or 

"SNOWED UNDER" Brown Golden Blonde Gray 

^&m^ Brown Titian R 

Above three views of Patricia Ellis a Titian g, edd ] sh /. , ' ° Light 

Reddish Blonde Golden Golden 

as seen in the new Duart Booklet of i^SSM^ W BrOW " ° BIa ° k Bi ° nde ^"^ 

Hollywood Coiffures — see coupon. fpir^ 


City, ..State 


Movie Classic for April. 1936 3 





,J\ Co^ ot ^ot* 





*»*2**tf st 




•JR. 1 



.V* 1 

o^ e 

... o*** 



\e9 e 
10 Co*""-' pw b, ^ 




£e°- - : ^ e **j^v^ ;; ia \>w 












Movie Classic for April, 1936 

MR 14 mi 

©C1B 29 4147 

APRIL, 1936 

VOL 10 No. 2 







Managing Editor 

%T Taking a peek at this 
month's contents is Doro- 
thy Lee — who is worth 
looking at, too . . . 


"Me? I'm Lucky!" — Bing Crosby by John Kent 

The Hollywood Boulevardier by Erskine Gwynne 

"Color Can Do Plenty for a Girl" 

— Sylvia Sidney by Frances Simon 

Meet Ginger Rogers' Star Pupil — 

— Harriet Hilliard by John L. Haddon 

Come to Our Hollywood Party! .... by Jack Smalley 
Is Shirley Growing Up Too Fast? 

Why Pick on Us?— Dick Powell . . . 
S-t-r-e-t-c-h Your Way to Beauty! . . 
Myrna Loy Gives Hints to Wives 
Jean Harlow Has Secrets for Secretaries 
George Raft Says, "A Little Villainy 

Can Make You a Big Success' 

by Marian Rhea 

by Katharine Hartley 

by William Anthony 

by Sonia Lee 

by Helen Harrison 

. by Helen Harrison 

Gary Cooper Wants Action! 

"Don't Be Dumb about Men" — Mae West 

"Kids Today Need Kicking Around!" 

— Wally Beery by 

Try a Movie Test in Your Own Home! 

Constance Bennett's Style Secrets 

Who Discovered Gable? Mervyn Le Roy! 

by James Fletcher 
by Wm. A. Ulman, Jr. 

by Be 


Eric L. Ergenbright 

by Ralph Foster 

by Virginia Lane 

by Jack Sher 








Win $600 with an Idea for a Movie Trademark 54 


Spring Fashion Preview 20 

Leap Year Beauty Secrets by Alison Alden 52 

Patterns for You — Modeled by Anita Louise 56 

Good Buys — Shopping Hints from Hollywood 86 


The Latest Reviews 14 

Your Own Ideas — Prize Letters from Readers 18 

Little Quints — You've Had a Busy Day! — picture page ... 26 

Gallery Portraits 27 

What Your Favorites Are Doing . . by Eric L. Ergenbright 53 

Final Flashes 90 

Cover portrait of Myrna Loy painted by Charles Sheldon 



Published monthly by Motion Picture Publications, Inc., (a Minnesota 
Corporation) at Mount Morris, III. Executive Offices, Paramount Buildina, 
1501 Broadway, New York City, N.Y. Editorial offices, 7046 Hollywood 
Blvd., Hollywood, Calif. Entered as second-class matter April 1, 1935, at 
the Post Office at Mount Morris, III., under the act of March 3, 1879. 
Additional entry- at Greenwich, Conn. Copyright 1936. Reprinting in 
whole or in part forbidden except b\< permission of the publishers. Title 
registered in U.S. Patent Office. Printed in U.S.A. Address manuscripts 


Vice President 

to New York Editorial Offices. Not responsible for lost manuscripts or 
photos. Price 10c per copy, subscription price $1.00 per year in the United 
States and Possessions. Advertising forms close the 20th of the third month 
preceding date of issue. Advertising offices: New York, 1501 Broadway; 
Chicago, 360 N. Michigan Ave.; San Francisco, Simpson-Reilly, 1014 Russ 
BIdg.; Los Angeles, Simpson-Reilly, 536 S. Hill St. General business 
offices, Fawceit BIdg., Greenwich, Conn. 




"Me? I'm 


When I went to bed last night, I felt 
dizzy and bilious. So I tried the FEEN- 
A-MINT 3-minute way that I've been 
reading about. I just chewed delicious 
FEEN-A-MINT for 3 minutes, and to- 
day I feel like a million dollars. What 
a difference from the harsh, griping 
action of old-fashioned "all-at-once" 
cathartics! It's good for the children 
too. They love its fresh, minty chew- 
ing-gum taste. And don't forget — 
FEEN-A-MINT is not habit-forming. 
Ask your druggist for FEEN-A-MINT 
today — 15c and 25c a box. 

Slightly higher in 

IF you ask Bing Crosby, who started 
from nowhere and has definitely ar- 
rived "somewhere," how he managed 
the journey, he merely shrugs, grins, 
and lazily answers : 

"Oh ... I don't know. Just drifted 
along .from one thing to another, I guess. 
I've been lucky . . . mighty lucky. I've 
never followed any definite plan. I've 
just had a lot of fun and a lot of 

Modesty? No, not exactly. He's 
simply the victim of fundamental hon- 
esty — a quality rather rare in Hollywood 
— and he declines to dramatize a sub- 
ject which, in his estimation, is not 
dramatic. His success story is a direct 
contradiction to all of those grim, slave- 
driving formulas that are so dear to 
the hearts of most "self-made" men. 

He says, "I've just drifted along" 
. . . and that's exactly what he has done. 
There's a vast amount of wisdom in his 
seeming laziness, and many an ambi- 
tious youngster would go farther and 
faster in "show business" if only he 
would follow the Crosby example. 

"Sure, I've had a lot of crossroads in 
my life," Bing admits. "There have 
been any number of occasions when I 
had to choose between North and South. 
But I've let luck make my decisions and 
they've always been right. The only 
mistakes I've made have occurred when 
I've tried to act as judge and jury and 
use logic to decide exactly what I 
should or shouldn't do. 

"For instance, about a year ago I 
suddenly decided that I ought to do 
something about my voice. I've never 
tried to tell myself that I'm a great 

Movie Classic for April, 1936 



The star of "Anything Goes" 
takes life as he finds it. 
(P. S. And gets the breaks!) 

By John Kent 

singer, you know, and I had never taken 
lessons. But I sat down and had a long 
talk with myself and decided that since 
I was making my living by singing, the 
least I could do would be to take it a 
little more seriously and try to become 
a good singer. 

"So I enlisted the services of one of 
the best voice coaches in the business 
and really worked. In a few months' 
time I actually succeeded in raising my 
register and improving my voice tre- 
mendously. I could hit the higher notes 
with greater volume and greater tone 
fidelity. I began to flatter myself that 
someday, if I worked hard enough, I 
might really be a singer. 

"And then the letters began to pour 
in after each broadcast. People wanted 
to know what had happened to my voice. 
They wrote that it wasn't nearly as good 
as it had been previously, and expressed 
their fear that I was slipping .... 

"I've never taken another lesson." 

T ADY LUCK, rather than a grim am- 
-*— ' bition for career, was at the helm 
when Bing drifted into show business. 
Logical planning had routed him into 
the law classes of Gonzaga University. 
His goal was the practice of law. He 
didn't start singing with one of the col- 
lege dance orchestras because he planned 
a career on the screen and radio, but 
merely because he needed a little spend- 
ing money and, having an instinctive 
flair for harmony, that orchestra job 
offered the path of easiest resistance. 
Lady Luck, not sober planning, brought 
him to Los Angeles and his first real 
success, and, {Continued on page 74) 

Mae West answers the call of the wild I Victor McLaglen) in Paramount' s 

Klondike Annie/' a roaring 

romance of the Northern waists 

You Sleigh Me, Big Boy. . . Nome was never 
like this 'till Annie hit town . . . these sourdoughs 
were just a bunch of cheap skates before Annie 
broke the ice . . . but now . . . there's a hot time 
in the Yukon tonight! 

The Big, Bold Miner Stakes His Claim to Annie's 
Heart of Gold . . . But Annie can't see him for (gold) 
dust . . . he's just one more fur-bearing animal to her . . , 
the glamour Gal of 'Frisco is not going to give her 
heart to any lad in a squirrel bonnet. "Get back to the 
mines," says Annie. 

You're No Erl Painting, But You're a Ferocious 
Monster. . . Ah, the secret is out . . . Annie has given her 
heart of gold to Skipper Bull Brackett, the toughest lad 
that ever knocked the teeth out of a gale with a belay- 
ing pin. Which proves true love always wins and 
there's no place like Nome. 

Movie Classic for April, 1936 



in Marsh in 

ancinc Feet, 1 * 
Republic Picture 


YESTERDAY a wallflower. Today the 
most popular girl in her set— with invi- 
tations, dances, and parties galore. It's the 
same story over and over again, whenever 
a girl first discovers the secret of fascinat- 
ing eyes. 

Every day more girls are realizing how un- 
necessary it is to have dull, lifeless eyes. A 
touch of Winx Mascara to the lashes gives 
eyes the sparkle, the radiance, men love ! 
"Winx Mascara makes the lashes appear 
longer, softer, and more lustrous. It brings 
out the natural beauty and charm of your 
eyes. Try Winx today and see for yourself 
how quickly it enlivens your whole appear- 
ance, how its emollient oils keep your 
lashes luxuriantly soft at all times. 

Winx Mascara is of- 
fered in black, brown 
tfy and blue — and in three 

i jjt convenient forms — 

YJ& Creamy, Cake and 

"jp^j'' Liquid. All are harmless, 

& v ^ easy to apply, smudge- 

proof, water-proof, and 
cake non-smarting. 

You can obtain Winx 
Eye Beautifiers in eco- 
nomical large sizes at 
drug and department 
stores — or in Introduc- 
tory Sizes at all 10^ storos. 

o uiiimx 

If you find it more convenient, you may order a trial 

package of WINX direct. Send 10c to Ross Company, 243 

West 17th Street, New York City. Check whether you wish 

□ cake or □ creamy FG4-36 

n black or □ browu or □ blue 


Street - 

City State 

By Erskine Gwynne 

Erskine Gwynne is that rata avis, 
a bird of passage known in all the 
capitals of the world, and aptly de- 
scribed by O. O. Mclntyre in a re- 
cent column as "the playboy of 
Paris." Now M. Gwynne has for- 
saken the boulevards of Paris for 
Hollywood Boulevard, and has 
blithely promised to report the 
sprightly gossip of Filmania each 
month in MOVIE CLASSIC. His 
new book, Paris Pandemonium, 
published by Robert Speller in New 
York, is just out and creating a fur- 
ore among those who recognize them- 
selves in its spicy pages. He was, 
for some time, a columnist on the 
Paris Herald, later launching a mag- 
azine called The Boulevardier, 
which achieved considerable inter- 
national renown before the crash 
ended its gay career. 

THE puzzle of the month has been as 
follows : Will Bruce Cabot make up 
with Adrienne Ames ? I have been 
unable to find out. If I bluntly asked them 
when they are together that would put 

Here you see an outline that may make film 
history. Patricia Havens-Monteagle, one of 
the Follies dollies in The Great Ziegfeld, 
is hailed as "the perfect athletic type" 

Movie Classic for April, 1936 

Photo by Rhodes, Classic Photographer 

A couple of good boulevardiers get 
together in Hollywood — Douglas Fair- 
banks, back from his travels, is wel- 
comed to work by Erskine Gwynne 

them both in a spot. And the trouble is, 
1 have never seen the one without the 
other. So I'm still in a quandry. 

THE ballyhooters out here for the differ- 
ent studios and stars know that there's 
one thing that always makes the news col- 
umns and that is romance. The only trouble 
the columnists have, is to describe it with 
some sort of wisecrack. Popular songs 
are used, such as Van Smith only has eyes 
for Estelle Taylor (it changes so much, 
that some of those guys must have eyes 
like a lighthouse). Most of the expressions 
are collected from that fast-thinking bunch 
of acrobats along Broadway. But now 
that ' we're on the subject, let's open the 
reporter cage : Maureen O'Sullivan goes 
'round and 'round with John Farrow, who 
wrote The Escape of Tarsan. Michael 
Bartlett is seen often with Florence Rice. 
Lila Lee and Johnny Beach march around. 
Paula Stone and Nick or Dick (it's the 
same guy) Foran are holding hands. The 
papers have it that Edmund Lowe and Rita 
Kaufman, the designer, are acquiring a 
profound knowledge of each other. 

ADOLPHE MENJOU'S health has 
been a topic of discussion along 
the Boulevard for quite a while, and we 
hear the alarming news that he may 

[Continued on page 10] 


Go 'Round and 'Round in 

And whata comedy 
team this turns out to 
be! Yet Hugh and 
Louise are just part 
of a convulsing cast 
that includes Marie 
Wilson, Luis Alberni, 
Berton Churchill, 
and Olin Howard. 



■***■ — 

Warner Bros.' Stunning New Musical 
Displays the Terpsichorean Talents 
of Dick Powell/ Ruby Keeler, Joan 
Blondell, Jack Qakie, Paul Draper 
and — of All People! — Louise 
Fazenda and Hugh Herbert, While 
the Rhythm of Four Swell New 
Song Hits Comes Out Here . . . 

And just for good measure, 
200 assorted Hollywood 
lovelies go to town in an 
up-to-the-second fashion 
show and other lavish 
dance numbers staged 
by. Bobby Connolly! 

Between love scenes 
with Ruby, Dick voca- 
izes "You Gotta Know 
How To Dance", 
"Summer Night" and 
"I Don't Have To 
Dream Again" 

Everything's Oakie- 
Doakie when Jack and 
Joan "swing it" to the 
strains of "Boulevardier 
From The Bron x". 

Movie Classic for April. 1936 

Nine women out of ten turn their backs to 
the light because they think it unflattering; 
but make this test ; you'll never do it again ! 

First, make up your face. Then take your 
Kurlash and curl the lashes of one eye. 
Touch them with Lashtint and put a 
little Shadette on the upper lid. Now take 
your hand mirror and seek the full light of 
your brightest window. You'll find that one 
side of your face seems infinitely better look- 
ing . . . softer, lovelier in coloring, with 
starry eye and sweeping lashes. 

You'll know then why the loveliest women 
use Kurlash daily. ($1 at good stores.) 

At the same window you'll have a chance to 
see how naturally Lashtint darkens and 
beautifies your eyelashes . . . without look- 
ing "made-up" either! It comes in 4 shades, 
in a special sponge-fitted case to insure 
even applications. $1, also. And the same 
holdstrue of Shadette. Even in the day- 
time it isn't obvious — just glamourous. In 
10 subtle new shades at just 75c each. 

• Have you tried 
Twissors — the new 
tweezers with scissor 
handles — marvel- 
ously efficient — 25c. 

Write Jane Heath for advice about eye beauty. Glue your 
coloring Jor personal beauty plan. Address Dept. SB-4. 

Did you ever try a kiss in the air? George 
King and Doris Toddings leap for love in 
the M-G-M short subject, Let's Dance 

[Continued from page 8] 
never take a drink or light a cigarette 
again. This is a strange predicament 
for him to be in . . . to us who remember 
the days when he and Lew Cody were 
working overtime, playing the male vamp 
parts. Remember? All that either of 
those home-breakers needed was a long 
dressing gown, a long cigarette-holder 
and a long drink within reach. 

ON the subject of health, a psychiatrist 
has found that Harold Lloyd has the 
idee fixee complex. Trust those lads to 
find words that we can't understand. How- 
ever, in this case, the psychiatrist (don't 
let that word get you down) has simply 
borrowed the expression from the French, 
meaning that Harold is obstinate and has 
fixed ideas. He quotes, for example, the 
fact that Harold always insists upon com- 
ing out of a room by the same door he 
entered. I hope Harold won't carry that 
superstition too far. In case of fire, for 
instance, exit like the rest of us . . . use 
the fire escape. 

HOLLYWOOD laughed in silence 
when a story appeared in the papers 
saying that, following the invasion of his 
home by a feminine admirer, a certain 
well-known star was erecting a six-foot 
wall around his domain. We had heard 

EVERY once in a while, femmes come 
up and worry the male stars. Not 
so long ago, Jack La Rue was the object 
of a very unscientific attempt at blackmail 
from a woman who tried to follow him 
in his car in front of the Trocadero. Her 
would-be jealous husband was, like pros- 
perity, just around the corner. However, 
though Jack was born on a sunny day, he 
wasn't born yesterday, with the result that 
the blackmailers didn't catch any fish. 

Hollywood has caused everybody to 
wonder what is going to happen. Doug 
plans to produce Marco Polo. Nobody 
hates inactivity more than he does. He 
is up at six, works till five. At that hour, 
he makes for the Turkish bath that he 
has had installed in his studio quarters 
and gathers around him a few friends. 
Then following an old Oriental custom, 
he lapses into a long, cooling drink. 

THE movie colony has gone very horsey 
this season. My prediction is that next 
year everyone will have horses. That is, 
everyone who can afford them. A geegee 
is excellent publicity, and gives the press- 
agents an opportunity to dish out a lot of 
horseradish. . . . Dick Powell's barker, 
for instance, has taught him to say that he 
always bets on a horse that reminds him 
of a song. Sometime, I suppose the horse 
could be retitled : "And then my horse stood 
still ..." George Brent says that he 
anchors his dough on horses carrying names 
that suggests one of his picture titles. Too 
bad he didn't play in "All Alone." 
[Continued on page 12] 

Photo by Rhodes, Classic Photograph: 

The Kurlash Company, Rochester, JV. Y. The Kurlash 
Company of Canada, at Toronto, 3* 

When Mary Pickford recently gave a large 
of the Chinese Wall, the Weeping Wall party, these were guests of honor: Lady 
n *A vtToll Ctrnof TMnw we'll have the M end I. Grace M oore. Cou ntess Veseli Roma nofl 

and Wall Street 
Wall of Modesty. 

Now we'll have the Mendl, Grace Moore, Countess Veseli Romanoff 
and Valentin Parera, Grace Moore's husband 


Movie Classic for April, 1936 





P : 

THE late John Gilbert was one actor 
who died wealthy. His estate is valued 
at $363,49-1 — of which his divorced 
fourth wife, Virginia Bruce, receives a 
generous share . . . The few privileged 
persons .who have seen Jimmy Cagney en- 
tertaining off-screen claim that he is the 
most talented mimic in Hollywood, sur- 
passing even Charlie Chaplin, who has been 
tops for years. Jimmy's ace impersonation 
is that of a dizzy girl doing a comedy 
dance . . . Mae West's gift to Director 
Raoul Walsh, upon the completion of Klon- 
dike Annie, was a star sapphire ring . . . 
Patsy Kelly, the comedienne who has been 
making rapid strides on the screen of late, 
will not go on the set unless she has her 
rosary beads somewhere about her . . . 
Jack Oakie explains the fall of a young 
actor who was formerly rising by saying, 
"He got to believing all that his publicity 
man wrote about him. And, brother, that is 
what is called poison in any language." . . . 
The Countess di Frasso, who is a Holly- 
wood hostess plus, is rumored to be con- 
sidering the rental of Gilmore Stadium 
(capacity, 20,000) and staging there a 
sports carnival, including boxing, wrestling 
and the like, with everyone a guest, no 
admission charged and the public barred 

SHIRLEY TEMPLE, Jane Withers and 
other child stars will move over 
and make room for Virginia Weidler — for 
Paramount is elevating the youngster to 
stardom and is planning stories built around 
her, thus preventing her from stealing 
pictures from adult stars, as she has been 
doing . . . Ginger Rogers, Fred Astaire and 
everyone else in the cast of Follow the 
Fleet banded together to buy a gift for 
Director Mark Sandrich. The gift, a novel 
one, was a sterling silver clock which, in- 
stead of numerals, bore on its face the let- 
ters of the director's name. Lucky Mark, 
to have twelve letters in his name ! . . . 
Hollywood's most torrid romance at the 
moment is that which has Margot Grahame. 
the most startling of the English actresses, 
and Johnny Green, the orchestra leader, as 
the interested swain . . . Scores of the 
boys in the film colony — actors, producers, 
directors and the like — boast of their 
prowess as golfers, but there are just two 
players in the colony who, though never 
talking of their golf, are tops and prove it 
by taking part in Coast golf tournaments 
and giving good accounts of themselves. 
Namely, Bing Crosby and Richard Arlen. 

IRENE DUNNE rehearsed songs for 
A Show Boat at the studio, instead of at 
home (as usual), because Producer Carl 
Laemmle, Jr.. had given her a newly deco- 
rated dressing-room with a brand-new baby 
grand piano . . . Sammy White, the famous 
dance director (now at work on Show 
Boat), received his own first dancing les- 
sons from an old actor with a wooden leg, 
who accompanied himself on a mouth- 
organ . . . The two best fencers in films 
today are Basil Rathbone and John Barry- 
more, and they get together for a duel in 
Romeo and Juliet . . . Janet Gaynor had 
a 5 o'clock quitting time written into her 
contract for Small Tozmi Girl, with the 
result that Director William Wellman is 
stopping work at five for the first time in 
his directorial life . . . Admission for 
premiere of Charlie Chaplin's Modern 
Times, first premiere in ages, was $5 per 
. . . Paul Muni is dodging appearances in 
public these days, with his head shaved 

**■ i 

There are rumors 
that the new Zieg- 
feldollies outclass 
those of yore. Here 
are five of the 
modern maidens in 
The Great Ziegfeld 

for his role in The Good Earth . . . Errol 
Flynn is convalescing from an appen- 
dectomy . . . 

ERROL FLYNN, that handsome hubby 
of Lili Damita, made such a hit in Cap- 
tain Blood that Warners have taken up his 
option and will star him in The Charge of 
the Light Brigade . . . Erik Rhodes studied 
singing for weeks — and then RKO cast him 
as a violinist in Tzvo o 'Clock Courage! . . . 
Warren William and Bill Powell seem to be 
neck-and-necking for film sleuthing honors ; 
now Warren's going to play both Philo 
Vance and Perry Mason in his two next 
pictures . . . Ten years ago, Edward G. 
Robinson loaned a young actor $50 ; the 
other day, the actor got a movie role, paid 
Eddie back the fifty, and a fine etching as 
interest . . . The American Architectural 
Forum selected Joel McCrea's ranch home 
as one of the 101 best small houses in 
America . . . Will Rogers' son, Bill, has 
bought part interest in a Beverly Hills 
newspaper, and is editing it . . . Wendy 
Barrie is a living League of Nations, hav- 
ing been born in Hong Kong, educated in 
London, attended finishing-school in Switz- 
erland and lived in Italy, France and Aus- 
tria before coming to Hollywood . . . Old- 
time Stars, Lila Lee and Patsy Ruth Miller, 
have opened a Hollywood gown shop, while 
Reginald Denny has a model-airplane fac- 
tory and shop . . . Perc Westmore says 
Olivia de Havilland is the most beautiful 
girl in Hollywood . . . and Jackie Cooper 
went into a fit of hiccoughs, the other day, 
that took two hours to stop ! 

REPUBLIC'S Gene Autrey reveals that 
the upkeep of his western costume totals 
$2,250 per year, with a big percentage of it 
for those ten-gallon hats. . . . Even Holly- 
wood stared when a woman brought a trained 
deer to Paramount, with a cigarette hang- 
ing between its lips, and she says that it 
eats at a table and sleeps in a bed. But why ? 
. . . Bet you never knew it, but the very 
first Mickey Mouse film cartoon ever made. 
Plane Cracy, was never released to the pub- 


lie, but it's part of a new historical film 
collection being museumed. ... The new 
Max Factor cosmetic plant in Hollywood 
can turn out 20,000 pounds of face powder 
daily ! . . . Binnie Barnes has introduced a 
hilly English game to Hollywood; all the 
guests sit in a circle and, at a signal, grab 
spoons out of a bowl in the center ; and. 
since there's one spoon less than the total 
number of guests, somebody's always the 
goat. . . . Hollywood has a horse-race bet- 
ting salon for ladies only, and it's lovely. 
. . . Ernst Lubitsch believes prosperity is 
back and that you'll pay a billion for movies 
this year. 

Millions of words have been printed, tell- 
ing about the kindness of the late Will 
Rogers. But no story has ever touched 
the one told by a Variety "mug" (as the 
boys on this sheet prefer to be known ! I 
The story is that some years ago, when 
Eddie Cantor was dabbling in the stock 
market, he had a tip on a certain stock and 
he let his friend of many years, Rogers, in 
on it. Rogers was not keen for the stock 
market but Eddie sold him the idea and 
even promised to guarantee Will against 
any losses. Rogers allowed Eddie to buy 
the stock and the hunch was right. The 
stock began to skyrocket, so much so that 
Rogers figured it could go down as fast 
as it went up' and he insisted on Eddie sell- 
ing. Cantor was peeved but he sold for 
Rogers and forwarded a check for the 
profits, $60,000. The following day Cantor 
received the check back from Rogers. It 
was endorsed by the beloved Will and made 
payable to the Camp for Boys which Cantor 
had been interested in for years. It was 
Will Rogers' only known venture into the 
stock market. 

FOR Under Tzco Flags, 20th Century-Fox 
had to build a camp for 3,000 people on the 
desert near Phoenix, Arizona. . . . M-G-M 
sent a camera crew all the way to Nova 
Scotia to film real backgrounds for Captains 
Courageous. . . . For The Walking Dead, 
Warners' make-up wizard Perc Westmore 
devised a gold-paint make-up for Boris 
Karloff, so he could be photographed with 
a halo, caused by light-diffusion from the 
gold. ... A campfire scene severely burned 
Barbara Stanwyck's hands during the mak- 
ing of A Message to Garcia at 20th Cen- 


If you had 
X-Ray Eyes 

you a never again tane a 
harsh, quick- acting cathartic! 

You don't need to be a professor of physiology 
to figure this out. When you take a harsh, 
quick-acting cathartic that races through your 
alimentary tract in a couple of hours, you're 
shocking your system. 

Unassimilated food is rushed through your 
intestines. Valuable fluids are drained away. 
The delicate membranes become irritated. And 
you have stomach pains. 

What a timed laxative means: 

When we say that Ex-Lax is a correctly timed 
laxative, this is what we mean: Ex- Lax takes 
from 6 to 8 hours to act. You take one or two 
of the tablets when you go to bed. You sleep 
through the night . . . undisturbed! In the 
morning, Ex-Lax takes effect. And its action 
is thorough, yet so gentle and mild you hardly 
know you've taken a laxative. 

No stomach pains. No "upset" feeling. No em- 
barrassment during the day. Ex-Lax is easy to 
take — it tastes just like delicious chocolate. 

Good for all ages 

Ex-Lax is equally good for grown-ups and chil- 
dren . . . for every member of the family. It is 
used by more people than any other laxative in 
the world. Next time you need a laxative ask 
your druggist for a box of Ex-Lax. And refuse 
substitutes. Ex-Lax costs only 10c — unless 
you want the big family size, and that's 25c. 

When Nature forgets— remember 




(Paste this on a penny postcard) 
Ex-Lax. Inc., P. O. Box 170 FG-46 

Times-Plaza Station, Brooklyn, N. Y. 

I want to try Ex-Lax. Please send free sample. 



City Age 

(If you live in Canada, write Ex-Lax, Ltd. 
736 Notre Dame St. W., Montreal) 

[Continued from page 10] 

CLARK GABLE has a horse he has un- 
imaginatively baptized Beverly Hills, 
which to me sounds much more like the 
sort of name one should give a mountain 
goat. Or, if you want to take into consid- 
eration the fact that there is a swimming 
pool to every house in that locality, a 
goldfish. Beverly Hills never made the 
grade. . . . You remember Clark Gable, 
don't you? He's the boy who took Charles 
Laughton for miles and miles and miles 
out on the Bounty, then let him paddle. 

CROSBY, Paramount's Bing, also owns 
a racing stable. The other day, all 
the Bing's horses and all the Bing's men 
ran down the field and back again — and 
that's about all they did. 

HOLLYWOOD being somewhere in 
California, the Hollywoodites are 
naturally ardent equestrians and polo is 
their favorite sport. Every once in a 
while an actor gets laid out on the middle 
of the field and in the middle of a produc- 


Photo by Rhodes, Classic Photographer 

Speaking of happy married couples — and Holly- 
wood does that occasionally — Mr. and Mrs. 
Edward Arnold are the new champions. -Eddie 
even vacations at home between pictures. He 
just finished a good one — Sutter's Gold 

Movie Classic for April. 1936 

Look at who is tiptoeing into the movie 
limelight now! Shapely Harriet Hoctor — 
glorified by Ziegfeld on Broadway — is help- 
ing to glorify him in The Great Ziegfeld 

tion, which causes the studios to go fran- 
tic and issue orders forbidding their 
cherubs to participate in the game. Wal- 
ter Wanger, Snowy Baker, Darryl Za- 
nuck, Frank Borzage, Spencer Tracy, 
Charles Farrell, and Jimmy Gleason are 
only a few of the motion picture colony 
who play the game. But if the studios' 
interference has calmed down the en- 
thusiasm of most of the players, it has 
helped others to keep the debonair non- 
chalance. Boys who never had a bean 
in their pockets and aren't earning enough 
money to keep a horse-fly alive, can say 
with impunity: "I love the game. I've 
had my eye on a string of ponies I was 
going to buy — but the studio just won't 
let me. . . . " 

here again. The painter of beautiful 
women is running a contest, with the aid 
of a local paper, to determine which girls 
have the most beautiful face, eyes, back, 
neck and shoulders, arms, legs, torso, hands, 
and feet in Hollywood. We can remember 
the days of beauty contests, when ONE 
girl would be named the local queen. Now- 
adays, they're more particular. They want 
their beauties in spare parts. . . . 

THE Cinegrill, a bar on Hollywood 
Boulevard adjacent to the Roosevelt 
Hotel, has wallpaper made of early movie 
stills. Aside from the clothes, the pho- 
tography and lighting alone are sufficient 
to date most of the pictures. 

Sylvia can tell you how. She 
is the heroine of "The Trail 
of the Lonesome Pine" — which 
may start a color revolution! 

"Color Does Plenty 
for a Girl!" 

Sylvia Sidney 

By Frances Simon 

"T WAS afraid they'd want to make 
me pretty \" Such a remark would 

-*- be unexpected from any girl, much 
less a movie star ! But this w-as the an- 
swer that Sylvia Sidney gave me when 
I asked her if she had wanted to take a 
color test for the Walter W anger pro- 
duction of The Trail of the Lonesome 
Pine, the newest all-color picture. 

"I'm not pretty," Sylvia continued 
impulsively, trying to deny the evidences 
of my own eyes, "and I didn't want to be 
seen as pink and white and china-dollish. 
I thought, of course, that that was what 
they'd want in color pictures. I was 
really dead set against color when Wal- 
ter Wanger asked me to take the test 
for The Trail of the Lonesome Pine. I 

almost said 'No' — and then I thought, 
'Well, I haven't anything to lose — I 
won't have to make the picture if I 
don't like myself in the test'." 

"Well, are you — pretty? You're in 
the picture !" 

"That's just it," Sylvia declared tri- 
umphantly. "They didn't try to prettify 
me. The test — and the picture — didn't 
turn me out pink and white at all. I 
look just as I really am. 

"You see, there are many women 
who aren't pretty, but who do have a 
naturalness, a simplicity, that is really 
their charm. And if you try to make a 
charming woman pretty, she'll turn out 
as a stiff dunce every time." 

"You're really saying that personality 
and prettiness are not the same thing," 
I suggested. 

"Of course, they're not the same. One 

is real and the other is just the obvious 
appearance. And color pictures could 
so easily stop at lovely complexions and 
hair coloring — and forget all about per- 

"In The Trail of the Lonesome Pine, 
for instance, most of the scenes are in 
outdoor settings ; we went to the San 
Bernardino Mountains on location and 
the scenery is simply gorgeous — purple 
mountains, blue lakes in the distance, 
wild flowers, brilliantly clear skies, red 
sunsets and golden sunrises over deep 
seas of clouds. If they had just splurged 
with all the color and scenery there was 
to be had, the picture would have been 
boring — and not at all beautiful. 

"Walter Wanger insisted that the 
scenery was only the background of 
the story — and that it should stay in 
the background. [Continued on page 89] 




A MAN who changed 
nap of the world! 

Eddie Cantor and Ethel 
Merman in Strike Me Pink 

Bette Davis and Leslie How- 
ard in The Petrified Forest 

The Latest Reviews . . . 


CLASSIC'S reviewers, 




dance, rate the 






• • 



• • 





Passing Fair 
Why bother? 

• • • • 

Rose Marie is, beyond any question of 
doubt, The Picture of the Month. It may 
even develop into The Picture of the Year. 
It is the first great outdoor operetta. If 
Naughty Marietta was a triumph for Nel- 
son Eddy and Jeanette MacDonald, Rose 
Marie is a super-triumph for them. Bear- 
ing little likeness to the silent version, the 
story has Jeanette an opera singer who 
ventures into the Canadian North Woods 
to aid a fugitive brother and there meets 
Nelson Eddy, a Canadian Mountie, who is 
also in search of her brother. During their 
battle'of wits on the trail, they fall in love, 
though each senses heart-break ahead. And 
even as they are thrilled by the beauty of 
the country that they see, and haunted by 
the beautiful Indian Love-Call, so will you 
be thrilled and haunted by the same beauty. 
Nelson is magnificently natural as the 
quick-witted Mountie — yet Jeanette is even 
more superb as the temperamental opera 
singer who finds love. (M-G-M) 

The Ghost Goes West is a romantic fan- 
tasy that is a sheer delight — the first and 
only one of its kind. Robert Donat, in a dual 
role, plays a young modern, owner of a 
broken-down Scotch castle, and the ghost 
of a handsome ancestor, fated to tread its 
halls even when it is moved, stone by stone, 
to America. The young modern falls in 
love with a pert American girl (Jean 
Parker), but doesn't know what to do 
about it, until his ancestor does his romanc- 
ing for him. More gay than exciting, 
it is an absorbing, rib-tickling satire of 
America and Americans, Scotland and 
Scots, and young lovers. (U. A.) 

Next Time We Love is a finely wrought 
picture about an ambitious girl and boy 
who marry and discover that their separate 
careers conflict with their happiness. The 
girl — Margaret Sullavan — is an actress ; 
the boy — James Stewart — is a newspaper 
correspondent ; both lead colorful lives. 
The story of how they face their problem 
is told sensitively with power. (Univ.) 

Movie Classic for April, 1936 

The Petrified Forest is one of the most 
unusual pictures you will ever see. Starred 
are Leslie Howard, a life-weary author 
who is on a suicidal journey; and Bette 
Davis, a girl who dreams of studying art 
in Paris. They meet and fall in love in a 
lonely gas station-restaurant in the West, 
which is also a haven for a gangster des- 
perado (Humphrey Bogart). Moody and 
intense, it is a dramatic jibe at the confusion 
of modern life, beautifully acted. (Warners) 

Anything Goes is a musical comedy that 
not only is loaded with catchy music, but 
is hilariously, insanely comic. It stars Bing 
Crosby, with Charlie Ruggles and Ethel 
Merman in fine fettle as his chief supports. 
Bing is a lad with a big bankroll ; Charlie 
is Public Enemy No. 13, escaping the coun- 
try disguised as a cleric, and Ethel is a 
blues singer on an ocean liner. Together 
and separately, they constantly encounter 
trouble — trouble that is laughable to every- 
one else. Bing has never been better, but 
even so, Charlie almost steals the show — 
by being a one-man riot. (Par.) 

Strike Me Pink is Eddie Cantor's latest 
achievement and, while just under par for 
a Cantor picture, has all the makings of a 
hit. Eddie is a poor, put-upon tailor in a 
college town, who acquires a book entitled 
'Man or Mouse — What Are You?" and sets 
out to assert his personality. Complica- 
tions develop when he crosses the path of 
some racketeers in an amusement park — and 
also a good, old-fashioned*comedy "chase" 
develops. His chief aides are the above- 
mentioned Ethel Merman ; his stooge 
Parkyakarkas (a born comic) ; and Sunny 
O'Dea, a new and intriguing dancer from 
England, as well as Rita Rio. (U. A.) 

The Milky Way reveals Harold Lloyd 

as a weakling milkman who is accused of 
knocking out the middleweight champion, 
is built up as a fighter, and develops a per- 
sonality complex that dazes his former 
friends. The laughs pile on top of each 
other, both before and after Harold be- 
comes an alleged fighter, building up to 
a ring "battle" with William Gargan. 
Adolphe Menjou, as Harold's distraught 
manager, is a tremendous help. On the 
distaff side of the cast, Helen Mack stands 
out, though Verree Teasdale and Dorothy 
Wilson are effective in smaller roles. (Par.) 

Captain January is Shirley Temple's most 
entertaining picture to date — which is 

Ann Harding and Herbert 
Marshall in The Lady Consents 

Robert Donat and Jean Park- 
er in The Ghost Goes West 

Guy Kibbee and Shirley Tem- 
ple in Captain January 

Nelson Eddy and 
Jeanette Mac- 
Donald give Amer- 
ica a new thri 
in Rose Marie 

Charlie Ruggles, Bing Crosby, 
Ethel Merman — in Anything Goes 

James Stewart and Margaret Sul- 
la van in Next Time We Love 

praise, indeed. A happy little waif rescued 
from the sea, she is the cherished ward of 
Guy Kibbee, a retired sea captain who has 
become a lighthouse keeper — and who has 
difficulty keeping her with him, because of 
the attitude of the truant officer. A quiet, 
gentle story, it has both whimsy and pathos, 
with Shirley shining brightly — a lovely 
child who acts like a child. And once 
again she sings and dances, one number 
being a dance down the lighthouse stairs 
while she recites her multiplication tables 
and another number being a novel obstacle 
dance with angular Buddy Ebsen. (20th 

King of the Damned is vivid melodrama 
— -revolving around the old theme of one 
beautiful woman among a thousand exiled 
men, but given an unusual setting. That 
setting is an imaginary penal colony in the 
West Indies, where every convict feels that 
he is doomed to die and where Conrad 
Veidt leads a rebellion. Veidt is compelling 
— as always ; Helen Vinson is weak in her 
sympathetic role ; and Noah Beery is 
vividly sinister as a convict overseer. (G-B) 

It Had to Happen reveals George Raft 
in a new guise — that of a bewildered im- 
migrant who soon acquires American go- 
getting ways and rises to a position of 

power. En route, he encounters amusing 
episodes, dramatic episodes, romantic 
episodes. Leo Carrillo, as a crony who 
drinks too copiously with him, provides the 
mirthful high spot — and Rosalind Russell, 
silken sophisticate, is the girl who captures 
and holds Raft's attentions and yours. 
You'll like George in his new character- 
ization. (20th Century-Fox) 

• • • 
The Lady Consents is not, despite is title, 
a boudoir drama. It is the placid, and 
none-too-new story of a surgeon (Herbert 
Marshall) and his wife (Ann Harding) 
who have to get a divorce to discover that 
neither can love anyone else. Margaret 
Lindsay is the feminine schemer who wrecks 
their marriage. Walter Abel is the likable 
chap who tries to win Ann, and Edward 
Ellis — who walks away with the picture — 
is Ann's rowdy, understanding father-in- 
law. (RKO-Radio) 

Colleen is a bit of a disappointment. 
Boasting a cast that includes Dick Powell, 
Ruby Keeler, Jack Oakie, Joan Blondell, 
Hugh Herbert and Paul Draper, it promises 
continuous entertainment— and doesn't ful- 
fill its promise. The frothy story doesn't 
bind together the variety acts performed 
by the principals. The stand-out dancing 
bit, created by [Continued on page 21] 

Ruby Keeler and Dick Powell in 
their new musical, Colleen 

Harold Lloyd, as the personality- 
plus hero of The Milky Way 





screen star 
tells why 
he picked 
the girl with 
Tangee Lips 

# If you met 
Charles Farrell 
wouldn't you 
want to have 
tender, soft lips 

The Tangee $\r\ won when 
loveliest lips while filming Uni- 
versal Picture, "Fighting youth". 

the kind of lips that would 
appeal to him . . . that he would want to kiss ? 

Three girls were with us when we visited Mr. 
Farrell. One wore the ordinary lipstick . . . one 
no lipstick ... the third, Tangee. "Your lips look 
irresistible," he told the Tangee girl, "because 
they look natural." 

Tangee can't make your lips look painted, 
because it isn't paint. It simply intensifies your 
own natural color. Try Tangee. In two sizes, 
39c and $1.10. Or, send 10c for the 4-Piece 
Miracle Make-Up Set offered below. 

• BEWARE OF SUBSTITUTES . . . when you buy. 
Don't let some sharp sales person switch you to an imi~ 
tation . . . there is only one Tangee. But when you ask for 
Tangee.. .be sure to ask for tangee natueal. There 
is another shade called Tangee Theatrical. . .intended 
only for those who insist on vivid color and for pro- 
sional use. 

World's Most Famous Lipstick 


417 Fifth Avenue, New York City 
Rush Miracle Make-Up Set of miniature Tangee 
Lipstick, Rouge Compact, Creme Rouge, Face 
Powder. I enclose 1(W (atamps or coin). 15(*in Canada. 

Shade □ Flesh □ Rachel □ Light Rachel 

Name , 

Please Pnut 

Address , 



Ginger Rogers and Har- 
riet Hilliard are like sis- 
ters between scenes, too 

Meet Ginger Rogers' 
Star Pupil— 

Harriet Hilliard 

The popular radio singer is the first 
big film "find" of 1 936. And Ginger 
is partly responsible for that fact! 

By John L. Haddon 


doubtedly one of the most 
beautiful girls ever recruited 
for pictures. A striking blonde, she 
combines the well-bred poise of an 
Alice Joyce with the youthful verve 
and animation of a Ginger Rogers. 
And she has had one of the greatest 
breaks that any newcomer to films 
ever had. Ginger Rogers — whose rival 
she might conceivably become — has 
been her guardian angel in her first 

Right there, you have a new and 
very revealing insight into the char- 
acter of Ginger Rogers . . . who is 
human first, and a famous personality 
afterward. She liked Harriet the mo- 
ment she saw the gifted young radio 
singer (who is the third most popular 
on the air today). She expressed that 
liking by acting in her screen test 
with her, rehearsing with her, helping 
her with her screen make-up, giving 
her all the tips possible about movie- 
acting. And Harriet, long a Ginger 

Movie Classic for April, 1936 

Rogers fan, and thrilled by Ginger's 
friendship, has been given a self-con- 
fidence that few screen beginners 
(even those of star calibre) seldom 

Her first picture (not counting sev- 
eral shorts that she made in the East) 
is Follow the Fleet, the new Fred 
Astaire-Ginger Rogers musical. Her 
first screen role is the role of Ginger's 
sister. And so well did she play it, 
from the very beginning, that it was 
enlarged — until now you will see her 
in a great big way. In the course of 
the picture, she not only changes 
from a schoolmarmish type to a ro- 
mantic type, but puts across a couple 
of solo song numbers, herself. As 
soon as you glimpse her. you will 
want to know more about her. And 
here is that information. 

SHE would much rather be known 
as Mrs. Ozzie Nelson than as 
Harriet Hilliard. She married the 

handsome young orchestra leader just 
four days before she entrained for 
Hollywood, a bit unwillingly, to play 
a minor role in some program picture 
or other, made two or three tests, and 
so impressed the studio powers-that- 
be that she was promptly given a 
luscious picture plum — one of the four 
important roles in Follow the Fleet. 

Like. Ginger Rogers, Fred Astaire 
and nine-tenths of the personalities 
who are now skyrocketing into the 
cinematic heavens", Harriet is a child 
of the theatre — a twenty-odd-year- 
old veteran of "show business." Her 
father, Ray Hilliard, is a well-known 
stage director ; her mother, Hazel 
Hilliard, is a former prima donna of 
musical comedy fame. Harriet made 
her stage debut at the impressive age 
of six weeks and played her first 
speaking role, in a Midwest stage 
presentation of Mrs. Wiggs of the 
Cabbage Patch, shortly after her 
third birthday. At five, she attracted 
considerable attention by her per- 
formance in Green Stockings with the 
famous Margaret Anglin ; at six, her 
parents wisely chose to halt her career 
temporarily in favor of a scholastic 
education. She attended various pub- 
lic and private schools, and, at seven- 
teen, graduated from St. Agnes' 
Academy, a girls' school in Kansas 

Apparently, the theatre was in her 
blood, for she lost no time in re- 
suming her career, this time on the 
vaudeville stage. She co-starred with 
Ken Murray and Bert Lahr and then 
appeared for a season or two in a solo 
dancing act on Keith-Orpheum 

Ozzie Nelson saw her in vaudeville, 
was duly impressed, and signed her to 
appear with his band. Until that time, 
she had done no singing. Nelson, how- 
ever, trained [Continued on page 75] 

Randolph Scott and Harriet Hilliard 
carry the romance of the new Rogers- 
Astaire picture, Follow the Fleet 

Mow they whisper~Z# tier 
...not cwtiut ner 


since she uses this lovelier way to avoid offending , . „ Since 
she bathes with exquisite, scented Cashmere Bouquet Soap 

SUCH a lovely, feminine way to guard your 
personal daintiness! 

Your luxurious bath with this fragrant 
Cashmere Bouquet Soap keeps you so im- 
maculate. Its deep-cleansing lather frees you 
so completely from any danger of body odor. 

And then — to make you more alluring — the 
subtle, costly perfume of this lovely soap clings 
lightly about you . . . leaves you delicately 
perfumed from tip to toe! 

Hours afterward, when you dine and dance 
with him . . . how glamorously this exquisite, 
flower-like fragrance still surrounds you! 

You will want to use this pure, creamy-white 

soap for your complexion, too. Its rich, luxuri- 
ous lather is so gentle and caressing. Yet it 
goes down into each pore and removes every 
bit of dirt and cosmetics. That's why 
Cashmere Bouquet complexions are so radi- 
antly clear, so alluringly smooth. 

And Cashmere Bouquet now costs only 10<f 
a cake. The same superb soap which for gen- 
erations has been 25 p. Exactly the same size 
cake, hard-milled and long-lasting. .. Scented 
with the same delicate blend of 17 rare and 
costly perfumes. 

Why not order at least three cakes of 
Cashmere Bouquet today! Sold at the beauty 
counters of all drug, department and lOp stores. 





NOW ONLY JO*" ^fartM<£H l^f <U*£ 

Movie Classic for April, 1936 



Jzick? US' 



• This young girl approaches life as a great 
adventure. Books, movies, toys, school . . . 
a busy life for her eyes in the years ahead! 
The strain of studying in poor lighting can 
affect not only the eyes but the entire nerv- 
ous system. Many a nervous •'problem" 
child would be healthier and happier if 
parents knew these facts about light in 
relation to seeing. 

1. Have every pair of eyes examined regularly 
by a competent eyesight specialist. 

2. Have home lighting measured by an ex- 
pert. Many local lighting companies pro- 
vide this service free. 

3. Use lamps that stay brighter longer. The 
General Electric monogram (%) on a bulb is 
your assurance of good light at low cost. 

Mazda lamps made by General Electric now cost as 
Utile as 15e" — only 20? for the popular 100-watl size. 



Douglas Fairbanks, Jr., 
will be answering 
plenty of fan mail 
after you see his first 
self-made picture, The 
Amateur Gentleman 

You can express them here! Tell us 
what you think! You may win a prize! 

$15 Prize Letter 

In Memoriam — Death has again crossed 
out another name in Hollywood's Hall of 
the Great. That of John Gilbert. I don't 
believe anyone will forget his perfect per- 
formances in The Big Parade and Flesh 
and the Devil. And I'll always remember 
him as Jack Gilbert in Should a Woman 
Tell? and in Bardelys the Magnificent and 
as Danilo in The Merry Widow. He was 
just different enough to keep his title of 
"the screen's great lover" despite the Val- 
entinos, the Barrymores and Clark Gables. 
Even lately, when he seemed doomed to 
oblivion, we could think of him as a great 
screen personality who might yet give us 
another big picture. Perhaps that was one 
reason why we felt glad when we heard that 
he was to be in Garbo's Queen Christina. 
It wasn't just charm or mannerisms that 
made us like him ; rather, it was an inner 
feeling that gave a vital spark to his char- 
acterizations. That John Gilbert lost his 
place wasn't entirely his own fault. As 
someone said: "He was a martyr of the 
first poor apparatus of sound." 

And so, John Gilbert, no matter how 
many years pass, no one can take your 
place in "The Big Parade" of Hollywood 
stars.— 5". K. Parkhurst, 6220-37 th N. W ., 
Seattle, Wash. 

$10 Prize Letter 

The Golden Lily — Fling all the barbed 
criticisms at the movies that you like. Your 
arrows won't harm the industry one bit. 
Because every once in a while it rears its 
head and hands out to you an achievement 
that stills your critical tongue and proves 
the unquestioned value of motion pictures 
to the world. That's just what it did when 
it gave you Lily Pons in / Dream Too 
Much. Here's a voice that is the greatest 
coloratura soprano in a century — several 
centuries, probably. And because movies 
exist, you can push your forty or fifty 
cents through the box office window and 
go in to hear that voice poured out with 
prodigal generosity. The story of the pic- 
ture? It doesn't matter. It's just a vehicle, 
and what if it does bump and bounce along 
in spots? Look who's riding in it and be 

Movie Classic for April, 1936 

forever thankful to the industry that brought 
you such golden melody! — Louise Bertsch. 
2656 Van Ness Ave., Apt. 14, San Fran- 
cisco, Calif. 

$5 Prize Letter 

She Passed the Test — The test of a good 
picture is if you remember it long after 
you have seen it — and, of course, that goes 
for players, too. Several weeks ago, I saw 
A Tale of Two Cities and, of all that out- 
standing cast, the one who left an unfor- 
gettable impression with me was the vivid 
Blanche Yurka as Madame De Farge. 
Countless people here who saw the picture, 
felt the same way, and wherever people 
talked of the picture, they lauded the splen- 
did acting of Blanche Yurka. Let us hope 
that we will see this magnetic personality 
in many fine roles in the coming year ! — 
Stephanie Dale, 620 North Graham St., 
Charlotte, North Carolina. 

$1 Prize Letters 

At Last — a He-Man — Just when I'm get- 
ting fed up with all these masculine cream- 
puffs on the screen, along comes a lad who 
can take a rap on the shoulder without 
falling apart. His remarkable performance 
as Captain Blood, the terror of the seas, 
left me without a doubt that he is Holly- 

WHAT is your favorite movie topic 
— your reaction to new pictures, new 
performances — your newest idea for 
the betterment of films? 
Tell us, and you will also be tell- 
ing the world. And be in the run- 
ning for one of these cash prizes 
for each month's best letters: (1) 
$15; (2) $10; (3) $5; all others pub- 
lished, $1 each. 

The editors are the sole judges and 
reserve the right to publish all or 
part of any letter received. Write 
today to Letter Editor, MOVIE 
CLASSIC, 7046 Hollywood Boule- 
vard, Hollywood, Calif. 

wood's greatest hero. A man who was made 
to order for the thrilling role of a young 
buccaneer and who, with the immortal story 
of Rafael Sabatini, has answered our pleas 
for a picture with color, romance, thrills, 
brutality, and a breath-taking star all in 
one. My friends, if you have not guessed 
his name, let me introduce to you that 
handsome new star, Errol Flynn! I have 
seen Captain Blood six times, and you can 
take my word for it that it's remarkable 
entertainment. — Elizabeth Snipes, 725 High 
St., Newark, N. J. 

Leave Joan Alone! — Joan Crawford may 
be an actress and a superb one, but — is she 
not also a woman? A human being just like 
us ordinary folk? Joan is glamorous, beau- 
tiful and a very talented actress, but is that 
any reason why she can't have a private 
life? We see her in pictures — we enjoy her 
performances — and we give her a big hand, 
but does that entitle us to know what she 
does when she leaves the studio? I don't 
think so ! Joan Crawford is a personality on 
the screen and an attraction at the box 
office, but it is nobody's business what she 
says, does or thinks as Mrs. Franchot Tone. 
■ — Ceil Cashing, 9 Johnson Place, South 
River, N. J. 

Readers, do you agree? 

Stay As You Were, Jean! — The name of 
Jean Harlow brings instantly to my mind 
a beautiful platinum blonde, and the men- 
tion of a beautiful platinum blonde causes 
me instantly to visualize Jean Harlow. 

An old-established business firm does not 
change the trademark by which it is known. 
It required a great deal of time and a cer- 
tain amount of expense to get the public 
to associate these two together. So why 
change? To make a comparison between 
lovely Jean Harlow and old staid Mr. Busi- 
ness is not just, but since Jean has been 
such a success as her lovely blonde self, I, 
for one, say, "Please, Jean, stay as you 
were."— Mabel C. Miller, 1702 W. Market 
St., Louisville, Ky. 

Lovely June Travis, recently the heroine of 
Ceiling Zero, is a newcomer about whom, 
we predict, there will be many letters 

Movie Classic for April, 1936 






Spring Fashion Preview 

Peggy Conklin, star of Her Mas- 
ter's Voice, wears a three-piece 
suit of novelty tweed in a green- 
gray-and-white wool mixture, right 

""*" h Ralp h , 

Ida Lupino, Paramount player, models a 
crepe frock with ruching of the material 
outlining the neck and hem of the tunic (left) 


WOMEN are becoming more critical, 
more discriminating in the beauty 
preparations they use. They expect a 
nail polish not only to be outstandingly 
lovely but to apply easily without 
streaking anJ to wear for days longer 
than polishes they used to know. 

Because Glazo has these virtues, its 
fame has circled the world. It is famous 
for its glorious fashion-approved shades. 
It is famous for solving the streaking 
problem and for amazing ease of appli- 
cation. It is famous for giving 2 to 4 
days longer wear, without peeling or 

Glazo shares its success with you, and 
is now only 20 cents. Do try it, and see 
how much lovelier your hands can be ! 

curtesy of Bonwit Telle: 




W f :X", 

" Ral fh Val^ 

Vivacious Peggy Conklin, 
above, chooses a double- 
breasted reefer suit in heath- 
er aquatone for walking 

Ida Lupino, left, featured 
in Anything Goes, selects 
a grayish beige sheer woolen 
frock for daytime wear 

Movie Classic for April, 1936 

The Latest Reviews 

[Continued from page 15] 

Draper for Ruby Keeler and himself, is a 
courtship story told in taps — though a 
comedy song and dance by Jack and Joan 
(who steal the show) is the high spot of 
the picture. (Warners) 

Brides Are Like That is a light and en- 
tertaining comedy about a young married 
couple who are as real as the couple next 
door. Ross Alexander is the boy who faces 
the problem of going to work, and making 
it pay, even though he hates it ; Anita 
Louise is his pretty bride, who is too much 
in love with him to see his faults — except 
when her parents are on the scene. (Warn- 

Every Saturday Night likewise is an un- 
derstanding comedy about the folks next 
door. The time is Saturday night ; the place 
is a typical American home ; the characters 
are a middle-aged couple with problem chil- 
dren of varying ages and a problem mother- 
in-law. And despite the fact that the cast 
boasts no "big names," you won't have a dull 
moment. The principal players are Jed 
Prouty, Spring Byington, June Lang, Ken- 
neth Howell, the Paxton Sisters, George 
Ernest. (20th Century-Fox) 

• • 

Exclusive Story offers a middling fair 
racketeering story, which is improved by 
the acting that goes into it. Franchot Tone 
and Madge Evans head the cast as the 
young lovers, but Stuart Erwin wins top 
honors as the honest reporter who has to 
"forget" his news scoop. Joseph Calleia, 
rapidly developing as a "star" menace, 
gives another good account of himself. 

The Lone Wolf Returns is comedy-ro- 
mance about a suave jewel thief (Melvyn 
Douglas) who falls in love with an in- 
tended victim (Gail Patrick). Douglas can 
take another bow. (Col.) 

Woman Trap is about jewel thieves, 
gansters, G-men, newspaper men, and a 
stranded girl flier in Mexico. The plot 
goes 'round and around Gertrude Michael 
and George Murphy (the reporter) and 
comes out as exciting melodrama. (Par.) 

Soak the Rich is the latest film effusion 
of Ben Hecht and Charles MacArthur. It is 
the satirical tale of a wealthy man (Walter 
Connolly), his "radical" daughter (Mary 
Taylor, from Park Avenue) and her "radi- 
cal" college friends, headed by John How- 
ard. And, because it is more mental than 
elemental, it will have only a limited audi- 
ence. But that audience will enjoy it. (Par.) 

HAS.... AND TOM... .AND 


« n rJ'. 

B.0. GONE -Addie engaged/ 










DO YOU want a fresher, clearer 
complexion? Use Lifebuoy. It does 
two important things. Cleanses deeply to 
rid pores of beauty-robbing impurities, 
yetcleansesge^/j. Scientific"patch"tests 
on the skins of hundreds of women show- 
Lifebuoy is more than 20 per cent milder 
than many so-called "beauty soaps." 

What? "B. O." in Spring? 

Yes, indeed ! Houses are still heated and 
stuffy, clothing heavy— a grand invita- 
tion to "B.O." {body odor). Don't take 
unnecessary chances — bathe regularly 



with Lifebuoy. Its rich, penetrating 
lather purifies, deodorizes pores, protects 
against offending. Lifebuoy gives a 
wealth of lather, even in hardest water. 
Its own fresh, clean scent quickly van- 
ishes as you rinse. 

Approved by Good Housekeeping Bureau 

Movie Classic for April, 1936 


Doctor's Report proves Pepsodent 
Antiseptic a real help to 



What 2 winters' test with 774 
Illinois people revealed 


reduced number and duration of colds 

• A Doctor made this famous test — he 
proved that Pepsodent Antiseptic did 
reduce number of colds! And cut the 
average length of a cold in half! 

He worked for two full winters, with 
774 people in all. The people lived to- 
gether. They worked together. They ate 
the same foods. Half of them gargled 
with Pepsodent Antiseptic twice a day. 
The other half did not. 

Those who did not gargle with Pepsodent, 
had 60% more colds than those who used 
Pepsodent Antiseptic regularly. 

Those who used Pepsodent Antiseptic, and 
did catch cold, got rid of their colds twice 
as fast as the others. 

Goes 3 times as far 

Pepsodent Antiseptic is extra powerful, 
but safe! It kills germs in 10 seconds, even 
when it is diluted with 2 parts of water! 

For "Breath Control"— Pepsodent keeps 
breath pure 1 to 2 hours longer 


Come to Our 


YOU have already been invited to see 
Hollywood, this summer. Now, in ad- 
dition, you are invited to a Hollywood 
party, at which you will be one of the 
guests of honor ! Movie Classic and Paula 
Stone invite you ! 

Last month, we told you how you can 
have the vacation of a lifetime by taking 
one of the Movieland Tours to Hollywood 
this summer. We outlined to you how you 
can have two eventful weeks, exploring the 
beautiful West and glamorous Hollywood. 
Now we want to tell you about one of the 
extra-special treats that awaits you when 
you arrive in Hollywood. 

You have always wanted to meet stars, 
haven't you? You have dreamed of being 
as close to your film favorites as this mag- 
azine is to you now — you have dreamed of 
shaking their hands, of talking with them. 
Now your dream can come true ! For 
Paula Stone — vivacious, red-headed daugh- 
ter of Fred Stone — is one of the most popu- 
lar girls in Hollywood. When she gives 
a party, celebrities by the dozen attend. 

We know, because we recently went to 
one. It was informal, as this party for 
you will be, and Paula's friends among the 
film folk flocked to her lovely home, in the 
hills overlooking movieland. Friends like 
Jeanette MacDonald and her manager- 
fiance, Robert Ritchie ; Jackie Coogan and 
his fiancee, Betty Grable; Grantland Rice, 
famed sports writer, and his actress-daugh- 
ter, Florence Rice : Cecilia Parker, Tom 
Brown, Anne Shirley, Patricia Ellis, Fred 
Keating, Sue Carol and most of the others 
of the smart filmland younger set. And 
Paula is inviting all of these friends to be 
on hand at her party for you, so that you, 
too, can know them as she knows them ! 
If you take the Movieland Tour to Hol- 
lywood this summer, you will be present 
at Paula's party. And what is the Movie- 
land Tour? A complete, all-expense vaca- 
tion trip of two -weeks, from Chicago to 
Hollywood and return — a trip sponsored by 
Movie Classic in association with other 
Fawcett publications. The trip is by spe- 
cial train, and includes, besides Hollywood, 
many of the famed beauty spots of the 
West and Far West. You will see the 
lake country of Minnesota, the beautiful 
Twin Cities, Yellowstone Park, Seattle and 
Puget Sound, San Francisco and the Gold- 
en Gate, the Grand Canyon, Pike's Peak — 
all in addition to Hollywood and its beauti- 
ful surroundings. 

IN Hollywood, you will stay at the famed 
Roosevelt Hotel, home of many stars. 
And just as you live where stars live, so 
will you be permitted past the well-guarded 
gates of one of the biggest film studios. 
If you take the July nineteenth tour, you will 

Movie Classic for April, 1936 

Paula Stone, one of Hollywood's most pop- 
ular girls, invites you to a party at her 
home. Stars will be at the party, too! 

see the vast studio of 20th Century-Fox 
Films, presided over by Darryl Zanuck. 
who has promised you glimpses of pictures 
being made, close-ups of stars at work. 
And 20th Century-Fox has a brilliant ar- 
ray of stars. You stand an excellent chance 
of seeing Shirley Temple, not to mention 
such favorites as Ronald Colman, Warner 
Baxter, John Boles, Alice Faye, Claire 
Trevor, Rochelle Hudson, Loretta Young, 
Irvin S. Cobb, Paul Kelly, Jane Withers, 
Gloria Stuart, June Lang. Every one of 
them will be invited by Movie Classic to 
be on hand to greet you — perhaps to lunch 
with you in the famed studio restaurant, 
the Cafe de Paris. 

Those who go on the August ninth tour, 
called the Movieland Special, will pay a vis- 
it to L T niversal Studios, which comprise a. 
city in themselves, known the world over 
as Universal City. You will spend hours 
there, looking behind the scenes, meeting 
stars, learning the inside stories of picture- 
making. This is the studio now making 
such pictures as Sutter's Gold, starring Ed- 
ward Arnold ; Love Before Breakfast, 
starring Carole Lombard and Preston Fos- 
ter; and Show Boat, starring Irene Dunne. 
Some of the sets for these pictures will 




Perfolastic not only CONFII 


MOVES ugly bulges! 

still be standing, and you will see them. 
And you will see, in the making, other 
pictures equally as thrilling. 

This is the second year in succession 
that we have sponsored Movieland Tours. 
Last year, there was only one tour — but 
that was so sensationally popular that, 
through sheer public demand, we are spon- 
soring two vacation tours to Hollywood 
this summer. The high point of last year's 
tour was the party given the members of 
the Tour by Raquel Torres and her mil- 
lionaire-husband, Stephen Ames, at their 
luxurious home. Paula Stone's party holds 
every promise of also being one of Holly- 
wood's most memorable events — something 
worth talking about for years. 

Maybe vacation time seems far, far 
away now. But it is not too soon to be- 
gin dreaming of the vacation of a life- 
time — of planning for an inexpensive, 
thrilling, unforgettable two-week trip to 
Hollywood and back. Wsite today for all 
the details. The low expense will amaze 
you. The illustrated pamphlet, telling what 
each tour will include, will thrill you. 
Write today for your copy— to J. C. God- 
frey, Jr.," Movieland Tour Manager, 360 
North Michigan Ave., Chicago. Just en- 
close a three-cent stamp with your inquiry. 

This is Hollywood Boulevard, as you will see it 
from the famed Roosevelt Hotel, where you 
will stay during your visit to movieland 

In 10 Days . . 

(_] f housands of women owe their 
flrjslim, youthful figures to the 
^^•^ sure, safe way of reduction — 
Perfolastic! Past results prove that we are 
justified in guaranteeing you a reduction 
of 3 inches in 10 days or there will be no 
cost. We do not want you to risk one 
penny — simply try it for 10 days at our 

B Look at yourself before you put on 
your Perfolastic Girdle and Brassiere— 
and afterwards! The difference is amazing. 
Bulges are smoothed out and you appear 
inches smaller at once. You are so com- 
fortable, yet every minute you wear these 
Perfolastic garments you are actually 
reducing . . and at just the spots where 
surplus fat has accumulated — noii'bere else! 


H No strenuous exercises to wear you out 
... no dangerous drugs to take . . . and no 
diet to reduce face and neck to wrinkled 
flabbiness. You do nothing whatever 
except watch the inches disappear! 

■ Every move you make puts your 
Perfolastic to work taking off unwanted 
inches. The perforations and soft, silky 
lining make these Perfolastic garments 
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and Hips 3 Inches 
. or no cost! 

Miss Healy! 


■ "Massages like magic", says Miss Carroll; 
"From 43 to 34% inches", writes enthus- 
iastic Miss Brian; Mrs. Noble says she 
"lost almost 20 pounds with Perfolastic", 
etc., etc. Test Perfolastic yourself at our 
expense and prove ic will do as much for you! 


See for yourself the wonder- 
ful quality of the material ! 
Read the astonishing experi- 
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who have reduced many 
inches in a few weeks! You 
risk nothing . . . we want you 
to make this test yourself at 
our expense. Mail the 
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Dept. 74, 41 E. 42nd ST., NEW YORK, N. Y. 
Please send me FREE BOOKLET describing 
and illustrating the new Perfolastic Girdle and 
Uplift Brassiere, also sample of perforated rubber 
and particulars of your 



Ad dress- 



Use Coupon or Send Name and Address on Penny Postcard 

Movie Classic for April, 1936 





Movie Classic for April. 1936 


bricked by fate into helping an 
assassin, an innocent man is torn 
from the woman he loves . . . shackled 
...condemned to a living death on 
a lever island where brutes are 
masters and sharks are guards! 


of I am a Fugitive from a Chain Crartg 



Warner BAXTER 




a DARRYL r. ZANUCK 20th century production 

Presented by Joseph JML Schenck • Directed by John X ord 
Associate Producer ana Screen Play by Nunnally Johnson • Based on the life of Dr. Samuel A. JM-uaa 

Movie Classic for April, 1936 25 

ht, 193J, NEA Service, Inc. 

Little Quints— 

You've Had a Busy Day! 

It's all aboard the Sleepytown Express for Yvonne, Cecile, Annette, Marie and Emilie! 
Doctor's orders! . . . They have to think of their beauty, their health and their public — 
for they're movie stars now . . . Stars of a picture called "The Country Doctor," which 
20th Century-Fox Films, of Hollywood, California, went all the way to Northern Ontario 
to make, with Jean Hersholt playing their doctor and Dorothy Peterson acting as their 
nurse . . . And five less camera-conscious stars you never will see again, all at one time. 
Here is a sample of what we mean . . . One, being borne away to the pajama pavilion, 
wistfully wonders why she is the first . . . Two clamor for "Dr." Hersholt's last-minute 
attention, while two others devote last-minute attention to a suddenly interesting crib-rail 



The honeymoon ends — and the bride 
comes home to the cameras. In other 
words, Claudette Colbert — the happy, 
new Mrs. J. J. Pressman — Is back at work. 
And she has a role that even she did not 
anticipate two months ago — the fiery, 
dramatic role of Cigarette in Under 
Two Flags. The hero of the famous 
story is Ronald Colman, who just tri- 
umphed in A Tale of Two Cities. Their 
appearance together is a movie eventl 


Olivia de Havilland and Erro! Flynn — they're 

winners if Hollywood ever saw two. They have 

everything that it takes to scale the heights — good 

looks, personality, youth and talent. And neither 

had acted before last year! They started 1936 as 

lovers in Captain Blood. Now they are pursuing 

adventures separately — Olivia as the heroine 

of Anthony Adverse and Errol in The 

Charge of the Light Brigade 

How can a child 
become Public Fa- 
vorite No. 1, as 
Shirley Temple has 
and not be affected 
by all the hulla- 
baloo? Read this 
amazing answer! 




Shirley Temple 
looks very much 
the young lady 
in this gown in 
Captain January 


SHIRLEY growing up 

Too Fast? 

IT WAS while Captain January, Shirley Temple's 
newest picture was being made at 20th Century-Fox 
that a friend of mine arrived in Hollywood from 
Massachusetts, accompanied by her seven-year-old 
daughter. The first place they wanted to visit was a motion 
picture studio, and the first person they wanted to see was 

I mention this apparently wholly personal matter be- 
cause, actually, thereon hangs this story. You see, the 
meeting was arranged — and, as this friend of mine, her 
youngster, Donna, and I were driving to the studio one 
afternoon, she asked me a question that is, perhaps, troub- 
ling many Shirley Temple fans who have watched her fame 
grow brighter with every picture. 

This question was : "Is Shirley Temple growing up 
too fast? She seems so sweet and cute on the screen, yet 
I don't see how a child in her position could help but be- 
come sophisticated, too wise for her years. . . ." 

Well. I guess that is a question that might make you 
wonder a bit — that is, if you didn't know Shirley. Here 
is a child who has the world at her feet ; who is literally 
mobbed by adoring throngs whenever she appears in public ; 
whose fan mail would turn the head of almost any adult ; 
who is protected like a treasure and treated like a princess ; 
who is rich and famous — a star of stars. . . Hers is not 
a normal life for any little girl, you may say. And, in the 

next breath, you may ask, a little fearfully: "What is it 
doing to her? Is all of this adulation and triumph spoiling 
her? Is she growing up too fast?" 

Well, I could answer that for you with one emphatic, 
two-letter word beginning with n. . . . But, instead, I am 
going to take you with us — my New England friend, her 
small daughter and myself — to the Captain January set 
and let you, too, spend the afternoon with Shirley. It 
won't be an outstandingly eventful afternoon; nothing 
spectacular will happen. But I believe in its very sim- 
plicity, its very normalcy, you will find an answer that will 
still your doubts and fears as to whether or not Hollywood 
is spoiling Shirley. 

The Captain January set on this occasion had a par- 
ticularly nautical aspect, what with the good Captain (Guy 
Kibbee), Shirley's guardian in the picture, having been a 
seafaring man before he took to keeping a lighthouse. 

We arrived just as the company was preparing to make 
that scene in which the Captain is trying to coach Shirley 
in her lessons so that she may be able to pass the examina- 
tion demanded by an unfeeling [Continued on page 66] 


What LOVE Has 


ll.l.iuXS of words have been written about how 
Ginger Rogers has changed physically. How she 
started out as the hey-nonny-nonny-and-hot-cha- 
cha Charleston winner, with arms and legs and hair flying 
— and how she has wound up as the poised, sleek young 
star of the screen, wearing Bernard Newman creations. 
Hut these are superficial changes. What of the real Ginger 
— the Ginger behind the screen star? Has there been a 
metamorphosis there, too? 

Definitely, yes — but such a subtle one that few people 
have recognized it as yet. The casual observer will tell 
you that Ginger hasn't changed — that she is still the good 
fellow, as friendly, democratic, and as generous as ever: 
that she is still just "Ginger" to everybody, prop boy and 
producer alike ; that she still goes around in slacks, still 
eats in the commissary, still drives her own car. Changed? 
No, she's still the same old Ginger, even if she is a star now. 

But I'm not talking about those things either. Not clothes, 
or make-up. or actions. I'm talking about the change that 
has happened in her own heart, quietly. I'm talking about 
what love has done to her. 

• Three years ago Ginger was not sure about what she 
wanted from life. As she says herself. "I didn't know 
exactly what I wanted to do or be. I didn't think that 
my picture work was getting me anywhere — at least not 
artistically. One week I thought I'd rather be a writer and 

a director than an actress. The next week I thought I'd 
rather paint than do anything else. Then I thought I'd 
like to write music. Then I thought: that I'd just give it 
all up, and have, instead, one of those quiet 'and-they-lived- 
happily-ever-after' marriages. Then 1 thought I'd go back 
to the stage. Then. . . . 

"Well, you can see that that kind of thinking wouldn't 
get anyone anywhere, except in a quandary. And I was 
in one all right. Of course, I was unhappy, running around 
in circles like that. I was tackling everything and getting 
nowhere with anything. And, what's more, I had even 
been like that when I was a youngster. First I wanted 
to be a school teacher. One of our dearest friends was 
one. and I wanted to be like her. Then I wanted to be a 
concert pianist. Paderewski was my idol at that particu- 
lar moment — so I practically slept at the piano for a half- 
year. Then I played in a recital, and never played again. 
I wasn't exactly a flop, but I wasn't a sen- 
sation either. And I had to be a sensation. 
or nothing. 

"So my history repeated itself when I 
took up painting several years ago. I bought 
out half the artist-supply shops in Holly- 
wood, and went to work feverishly. My 
friends made polite remarks about my work, 
but nobody said I showed the divine spark 
that would set the [Continued on page 68] 

Would you know the girl ? This is 
Ginger eariy j n her screen career 

Remember when Ginger was temporarily 
blonde? That change occurred in 1932 




It looked like love when Lew 

Ayres and Ginger Rogers played 

together in Lottery Lover. And 

now — well, read this story ! 

*• ' And 



Since her mar- 
riage, Ginger 
has stepped to 
stardom with 
Fred Astaire. 
You see them 
in Follow the 

In 1934, Ginger was beginning to reach for 
stardom — with an appealing buoyancy 

And here is the Ginger of 1935— the 
glamorous star married to Lew Ayres 









r~\ f 



the f» rS * 

Moreover, «*» Wer ^H^ 
twanasorne. road ^ 

-na *j£ ^ a rW.« 







"When the right girl says, 

'Yes/ I'll sure help her 

tell the world . . ." 

(P. S. Dick and Joan are 
together in Colleen) 

Portrait by Longworth 

Why Pick on Us? 

DICK POWELL talks-plenty— about 

those new romance rumors. And 

JOAN BLONDELL probably seconds 

his sentiments! 

RECENTLY the Hollywood grapevine has been buzz- 
ing with a new romance rumor. This one concerns 
Dick Powell and Joan Blondell. In all other re- 
spects, the rumor falls into the category of Story Number 
3-A in the Press Agent's Manual. You all know the one. 
Tt starts, "Dick Powell, handsome young leading man, was 

seen by your correspondent at the Restaurant 

with , beautiful Hollywood actress, last dawn- 
ing. They seemed very much interested in each other and 
Dame Rumor has it that they will soon do a middle-aisle 

together. Powell has just completed work in , 

for an early release. That's all for to-day, friends." 

Now, everyone knows that Dick and Joan have been pals 
for two or three years, so the story didn't seem too im- 
probable this time. I had lunch with him in his new 
dressing-room to learn the story behind the latest rumor 

because sometimes Story Number 3-A is accurate. 

"How goes the private life, Dick?" I queried, prepared 
to duck. Dick doesn't like interviewers to start that way. 

Dick groaned, and said, "Listen, fellah, why do you guys 
always pick on me? Pm no Lochinvar. How come I 
can't have a date with a girl to go to the fights or do a 
little mild hoofing when there's a good orchestra in town, 
without waking up the next morning to read in the papers 
that Pm practically married? It gives a guy an awful 
shock to get engaged twice a month and not even get let 
in on the secret — especially before the morning coffee. Per- 
sonally, I have a distinct aversion to getting engaged before 
breakfast. It lacks dignity and decorum. 

"I can't savvy all this," he added. "People seem to have 
an idea that in the picture business you do a little mild 
work about one-quarter of your time and spend the next 
three-quarters of your life making love to a series of amaz- 
ingly beautiful ladies. It's not reasonable. So why go 
romantic all the time with me? 

I THINK I'm a perfectly normal guy who works for 
a living, enjoys doing it and has had a few of the 
breaks. But in my private life, [Continued on page 70] 




Maureen O'Sullivan reveals 
ten easy ways to a stream- 
lined Hollywood silhouette! 


If you would trim down 
your hips, practice Exer- 
cise I— -illustrated by Mau- 
reen O'Sullivan between 
scenes of Tarzan Escapes 

S-t-r-e-t-c-h Your Way 

SO YOU want a slim, softly rounded figure — the new 
Spring, 1936, silhouette? You want to Danish an un- 
sightly roll of fat about your waistline, heavy upper 
arms, a double chin, or perhaps bulging hips ? You can ! 
A perfect figure is within your reach . . . but you must 
reach for it. You must STRETCH for it ! 

Maureen O'Sullivan, now appearing with Johnny Weiss- 
muller in Tarzan Escapes, has a slim, supple figure and is 
determined to keep it that way. For one thing, her reveal- 
ing costume as Tarzan 's mate won't permit one single ounce 
of superfluous fat. But Maureen wisely avoids strenuous 
diets and violent exercises which all too often result in a 
haggard face, a ruined disposition, and even loss of health 
and vitality. Instead, she advocates the new "stretcbing" 
method for a Hollywood silhouette. This system has been 
devised by Dr. Lois Long, an authority on body beauty, 
under whose guidance more than twenty Hollywood stars 
have achieved and retained physical perfection. 

Maureen presents here a series of stretching exercises 
which, if followed with devotion, will give you a figure 
as perfect as hers. Let's go, while Maureen sets the 
pace ! 

Every woman can do these exercises at home. Lie across 
the bed while you do them. In the exercises which require 
holding the feet down securely, that is easily accomplished 
with the help of two canvas straps which you can hook into 
the springs of the bed. The straps are easily made. Buy a 
yard and a half of about four-inch-wide canvas or any other 
strong fabric. Cut the length in half, sew each section in a 


loop onto a curtain ring and attach a hook to the ring. That's 
simple ! Now you can go ahead : 

Exercise I: Lie on the left side. Relax. Inhale. Con- 
tract all muscles in the body. Then raise right leg and arm 
slowly, until you feel the muscles give. Keep on stretching 
until there. is extensive tension. Then lower arm and leg 
slowly. Repeat ten times. Lie on right side and repeat 
exercise. The head must be at the edge of the bed so that 
the neck and head muscles are perfectly relaxed. 

This exercise is exceptionally fine for reducing that ugly 
and flabby lump women usually have inside their upper legs. 
It tightens the flesh and it gives a slimmer hip-line. 

Exercise 2: Hook feet into straps. Bring your body for- 
ward until your waist is at the edge of the bed. Inhale. 
Then bend slowly down as far as possible and until your 
torso muscles are completely stretched. Support your head 
by interlocking your hands back of your neck. Bring your 
body up slowly. Exhale. Then bend down again. This 
exercise should be repeated five times at the beginning and 
ten times when your body is hardened a bit. 

This is a marvelous exercise for the spine, and will 
straighten stooping muscles. It reduces the waist and 
stomach quickly, too. 

Exercise 3: Turn on your stomach. Push slightly for- 
ward until the body is in a comfortable position, with about 
half of the body banging over the edge of the bed. Your 
arms rest on your torso, with interlocked hands, behind your 
back. Slowly raise body until you feel the stretch in the 
stomach muscles. Push down with your hands as you stretch 

to Beauty! 

up. This exercise is done slowly for best results. To be repeated ten times. 

This is an excellent exercise for that ugly sag of your abdomen and for re- 
ducing the rubber tire around your waist. 

Exercise 4: Turn on your stomach. Grasp frame of bed hard. Straighten 
legs out tense. Then raise and lower violently and quickly, rotating the right 
and left leg in a scissors movement. Your toes should at no time touch the floor. 

This exercise reduces the lump on your hips and the fat on the back of the 
upper legs. 

Exercise 5: As in Exercise 4, grasp the bed frame hard. Tense the body. 
Contract every muscle. Holding legs close together, swing them up and down 
with much force, as far down as you can and as far up as you can. 

This exercise tones digestion by stimulating die nerves of the spine. It re- 
duces every part of the body by the process of contraction. By stretching the 
muscles on the bone, it helps break down the fat from the inside. 

In the next three exercises breathing is important. [Continued on page 64 J 

Maureen doesn't be- 
lieve in drastic re- 
ducing methods. But 
she does advise plen- 
ty of exercise. Look 
at the clean-cut lines 
of her figure, as she 
illustrates four "body 
beauty" treatments. 
Isn't it worth a few 
minutes of your day 
to have a Hollywood 
silhouette, too? 






in s 









P a ' 



wil . r. „ ~ rme rp(; f nn vour torso with interlocked hands, behind your 

the springs ot tne oed. The straps are easily made. Buv a arms rest o "^ur torso ^t ^ 




Maureen O'Sullivan reveals 
ten easy ways to a stream- 
lined Hollywood silhouette! 


If you would trim down 
your hips, practice Exer- 
cise I— illustrated by Mau- 
reen O'Sullivan between 
scenes of Tarzan Escapes 


S-t-r-e-t-c-h Your Way ■. to Beauty! 

S( ) YOU want a slim, softly rounded figure- the new 
Spring, 1936, silhouette? Vou want to banish an un- 
sightly roll nf fat about your waistline, heavy upper 
anus, a double chin. >>r perhaps bulging hips? You 
\ perfect figure is within voui reach . . . but you must 
[or it.' You must STRETCH fork! 
Maureen O'Sullivan, now appearing with Johnny Weiss 
muller in Tartan Escapes, has a slim, supple figure and is 
determined to keep it that way. For one thing, her reveal- 
ing i ostume as / ai tan's mate won't permit one single ounce 
of superfluous fat. But Maureen wisely avoids strenuous 
diets and violent exercises which all too often result in a 

haggard face, a ruined disposition, and even loss of health 

and vitality. Instead, she advocates the new "stretching" 
method Eoi n Hollywood silhouette. This system has been 
,,i in Dr. 1 an authority on body beauty, 

undei whose guidance more than twenty Hollywood stars 
have achieved and retained physical pet Ee tion 

Maureen presents here a series of Stretching exercises 

which, if followed with devotion, will give you a figure 
ierfect as hers. Let's go, while Maureen sets the 

Ever) woman can do these exercises at home. Lie across 
the bed while \^u k\*> them In the exercises which require 
holding the feet down securely, that i- easilj accomplished 

with the help of two eanvav straps which you ean hook into 

the springs of the bed Hie straps are easily made. Buv a 
indahali ol about Foui nun wide canvas or any other 

i. . I'm the length in half, sew each section in a 

loop onto a curtain ring and attach a hook to the ring. That's 
simple! Now you can go ahead : 

Exercise I: Lie on the left side. Relax. Inhale. Con- 
tract all muscles in the body. Then raise right leg and arm 
slowly, until you fed the muscles give. Keep on stretching 
until extensive tension. Then lower arm and leg 
slowly. Repeat ten times. Lie on right side and repeat 
exercise. The head must he at the edge of the bed so that 
the neck and head muscles are perfectly relaxed. 

This exercise is exceptionally fine for reducing that ugly 
and flabby lump women usually have inside their upper legs. 
It tightens the flesh and it gives a slimmer hip-line. 

Exercise 2: Hook feet into straps. Bring your body for- 
ward until your waist is at the edge of the bed. Inhale. 
Then bend slowly down as far as possible and until your 
torso muscles are completely stretched. Support your head 
by interlocking your hands back of your neck. Bring your 
body up slowly. Exhale; Then bend down again. This 
exercise should he repeated five times at the beginning and 
times when your body is hardened a bit. 
This is a marvelous exercise for the spine, and will 
straighten stooping muscles. It reduces the waist and 
stomach quickly, too. 

Exercise 3: Turn on your stomach. Push slightly for- 
ward until the body is in a comfortable position, with about 
half of the body hanging over the edge of the bed. Your 
arms rest on your torso, with interlocked hands, behind your 
hack. Slowly raise body until you feel the stretch in the 
stomach muscles. Push down with vour hands as you stretch 

up. This exercise is done slowly for best results. To be repeated ten times. 

This is an excellent exercise for that ugly sag of your abdomen and for re- 
ducing the rubber tire around your waist. 

Exercise 4: Turn on your stomach. Grasp frame of bed hard. Straighten 
legs out tense. Then raise and lower violently and quickly, rotating the right 
and left leg in a scissors movement. Your toes should at no time touch the floor. 

This exercise reduces the lump on your hips and the fat on the back of the 
upper legs. 

Exercise 5: As in Exercise 4, grasp the bed frame hard. Tense the body, 
Contract every muscle. Holding legs close together, swing them up and down 
with much force, as far down as you can and as far up as you can. 

This exercise tones digestion by stimulating the nerves of the spine. It re- 
duces every part of the body by the process of contraction. By stretching the 
muscles on the bone, it helps break down the fat from the inside. 

In the next three exercises breathing is important. [Continued on page 64 | 

Maureen does 
lieve in drastic re- 
ducing methods. But 
she does advise plen- 
ty of exercise. Look 
at the clean-cut lines 
of her figure, as she 
illustrates four "body 
beauty" treatments. 
Isn't it worth a few 
minutes of your day 
to have a Hollywood 
silhouette, too? 

n't be- 









EEPING one man happy is a two-woman job!" 
So said Myrna Loy — beautiful, titian-haired 
Myrna, who, as Mrs. Nick Charles in The Thin 
Man, started a new vogue in wives. Now she was talking 
of the part for which she was making up — that of Linda 
San ford, Clark Gable's wife, in Wife vs. Secretary. 

"I've done some personal research for the role," she 
laughed, "and it has been my observation that the wife who 
realizes that her husband's secretary can also be her best 
friend is a smart wife, indeed !" 

"Few wives take that viewpoint," I commented, "and if 
they did, how many of them would have the courage to act 
on it?" 

"That's because some wives have a distorted viewpoint 
of the 'other woman' in a man's life — his secretary, I mean," 
Myrna explained. "The average wife who never visits her 
husband's office is likely to get a mental impression of that 
'silent partner' as a beautiful blonde [Continued on page 60] 

Myrna Loy, filmdom's 
most popular "wife," 
plays Clark Sable's at- 
tractive mate in the 
film Wife vs. Secretary 


© C-P Corp 


HOW would you like Jean Harlow to be your hus- 
band's secretary? Would you "think no more of 
it" — or would you consider your troubles practically 
beginning? . . . We thought so! . . . Well, that's only half 
the story. There is, you know, the secretary's side, too! 

Which brings us right to Jean's dressing-room, and a very 
pretty one too, and to Jean, herself, who plays Whitey Wil- 
son, THE secretary to Myrna Loy's "husband" (Clark 
Gable) in Wife vs. Secretary. 

"Tell us," we begged, "what you'd do if you were a 
Whitey in real life — you 
know, a punch-the-clock, 
knock-'em-dead siren of the 
skyscrapers? One of those 
millions of lovely young wo- 
men who play nursemaid to 
a [Continued on page 62] 


!!^ ^"» 


r _ 







© C-P Carp. 


EEPING one man happy is a two-woman job!" 
So -aid Myrna Lay— beautiful, titian-haired 
Mvrna. who, U Mrs. Sick Charles in The Thin 
Man, started a new vogue in wives. Now she was talking 
of the pari for which she was making up — that of Linda 
S'an ford, Clark Gable's wife, in Wife vs. Secretary. 

"I've done Borne personal research for the role," she 
laughed, "and it has been my observation that the wife who 
realizes that her husband's secretary can also be her best 
friend is a smart wife, indeed !" 

"Few wives take that viewpoint," I commented, "and if 
they did, bow many of them would have the courage to act 
..n it '-" 

's because some wives have a distorted viewpoint 
of the "other woman' in a man's life — his secretary, I mean," 
Mvrna explained, "The average wife who never visits her 
husband's office is likely to get a mental impression of that 
silent partner' a^ a beautiful Monde [Continued on page 60] 

Myrna Loy, filmdom'i 
moil popular "wifo," 
playi Clarl Gablo'i at- 
tractive mato in th* 
film VCi'A» vt. Secretary 


HOW would you like Jean Harlow to be \our hus- 
band's secretary? Would you "think no more of 
it" — or would you consider your troubles practically 
beginning? ... We thought so! . . . Well, that's only half 
the story. There is, you know, the secretary's side, too! 

Which brings us right to Jean's dressing-room, and a very 
pretty one too, and to Jean, herself, who plays ll'hitcy Wil- 
son. THE secretary to Myrna Loy's "husband" (Clark 
Gable) in Wife vs. Secretary. 

"Tell us," we begged, "what you'd do if you were a 
Whitey in real life — you 
k n o w, a punch-the-clock, 
knock-'em-dead siren of the 
skyscrapers? One of those 
millions of lovely young wo- 
men who play nursemaid to *r 
a [Continued on page 62] «y 

Jean Harlow — o i 
platinum, now brown- 
ette — plays Clark 
Gable'i alluring itonog 
in Wife vs. Secretary 






You can't beat California. 
Winter is just a word in that 
climate — not a season! And 
here, to prove it, is the luscious 
Lombard, looking for someone 
to go swimming with her. Since 
her old dancing partner, George 
Raft, is so busy, she'll have to 
find somebody else. Maybe 
Fred MacMurray, her pal in 
Hands Across the Table. Or 
Preston Foster, her amusing new 
pal in Love Before Breakfast 

George ought to know. He 
became a success, himself/ 
by just playing at villainy. 
And he isn't kidding now, 
if his new film, "It Had 

even il 

To Happen/' is a comedy! 

NOT so many years ago, villains got hisses — now 
they get fan mail ! Yes, of course, we mean George 
Raft. Not that this picaresque favorite of the 
screen would ever admit to the stacks of admiring letters 
signed "Mabel" or "Mary" or "Maude." For, believe it 
or not, George Raft's success has never given him ego- 
colic. He remains the same modest, unaffected, natural 
person who flipped a coin in Hollywood and became world- 

Raft got his screen start as one of the talented trio who 
made a big killing — no pun intended — in Scarf ace. (The 
other two were Paul Muni and Ann Dvorak. ) No one who 
ever saw that picture can forget the sinister eloquence of 
his coin-tossing gesture nor the sleek, cat-like grace with 
which he put over the part of the laconic gangster. That 
was because George put everything into that part. He 
loved it. Since that time he has weathered a variety of 
screen incarnations, ranging from bullfighter to band- 
leader. But if he had his way, he would choose the 
Scarf ace type of role every time. 

You see, Raft doesn't like to be a celluloid "softie." 
Nothing confounded him more than to be labeled "the 
second Valentino." True, he has the same dark, veiled 
look of the eyes — the steady glance that pierces, yet gives 
no hint of the thoughts or feelings behind it. That is the 
one and only point of resemblance. 

Raft knows that he isn't cut out to be a sheik. He 
knows, above all, that he can never be the talkative young 
man in a ballroom. His tight lips do not suggest long and 
eloquent romantic pleadings, but rather the jerky, point- 
blank speech that is so characteristic of his real, as well as 
his screen, self. And his relaxed movements are those of 
the jungle cat that can, in an instant, become a unit of 
terrifying power, of threatening claw and fang. In him 
there is no trace of Valentino's leisurely, romantic grace 
that was essentially for the drawing-room or at least for 
the lady's bower. 

Silent. Suave. Suggesting menace by gesture, rather 
than by word. That's Raft. That's the sort of thing he 
can do. That's the sort of part he wishes would come his 
way more often. 

"You know," he remarked as we sat over our luncheon 
coffee, "that picture I did with Joan Bennett — She 
Couldn't Take It — was swell for me. My part really had 
something. I didn't have to go stumbling around through 
a whole lot of dialogue, for one thing. Then, too, I felt 
easy and natural in the part. I felt as if the guy I was 
playing was human. Maybe he might be called a bad 
number — but when you added him up, he was okay." 

Right there George revealed a salient characteristic. He 
can flip coined phrases as easily as he can flip coins ! 

But 1 was interested in this new angle — villainy pre- 
ferred. Over the clamor of the luncheon hour in the studio 
commissary, I bawled a question. [Continued on page 80] 


A Little 

Can Make 
You a Big 



Wants Action! 

All the world loves a lover — and 
nobody tops Gary in the role. But 
love scenes aren't his big thrill! 


GARY COOPER is one guy who won't talk. I've 
known him for years, but he still won't talk. 
He isn't taciturn ; he's just inarticulate. When 
you ask him something, the answer is just as apt to 
be a grin and a grunt as a "yes" or "no." For that 
reason, dozens of writers will tell you he's hard to 
interview. He isn't, really, but you have to know and 
understand your "Coop." 

I saw him the other day on the set of Desire. He 
and Marlene Dietrich had been working together 
for more than a week on a series of interiors — 
emotional scenes with a minimum of physical 
action. As we left the set, headed for his dress- 
ing-room, Gary was glum. In another man, the 
glumness would have been irritability, but 
Cooper is too serene for that. He paused at the 
door to ask a new assistant director what the 
next day's call would be. 

"Oh, yes," came the reply, "I was going to 

ask you about that. We'll be shooting the 

\ race sequenced out on Sepulveda Boulevard 

very early in the morning. But you won't 

have to come out till later. We'll use a 

double for the actual racing and. . . ." 

That was as far as he got. If he had been 

around the studio longer, he would have 

known better than to try to let Gary out 

of a dangerous scene. Gary dotes on 

them and he had been looking forward 

to piloting that long nosed, powerful car 

at screaming speed ever since he had 

first read the script. Mr. Cooper was 

nice, but very, very firm in his expla- 

1 nation about "doubles" getting all the 

\ fun out of his pictures after he had 

been through a week of studio work. 

As we walked on across the lot, he 

began chuckling. His pace increased 

to a [Continued on page 76] 

Gary wouldn't let a double do 

the dangerous scenes in Desire. 

He wanted the fun, himself! 

And So Does 


After three half-way successes In 
a row, Marlene Dietrich is in the 
mood for a "hit" picture. And it 
looks as if she has one in Desire, 
with Gary Cooper as her co-star . . . 
There can't be much truth in those 
rumors that she is about to leave 
America to escape kidnap threats. 
For now she is to do / Loved a Sol- 
dier, with romantic Charles Boyer 


Don't Be Dumb 
_ . about Men! 


.,..- - 






Can a woman get 
and keep a man? — 
that's the Mae 
West test for femi- 
nine brains. She 
tries it on herself, 
with Victor McLag- 
len in the picture, 
Klondike Annie 




MAE WEST always gets her man. In fact, she's so 
good that she even gets a few she doesn't want! 
If ever she makes up her mind that she wants one 
of these little trinkets for her own private stock — he might 
as well get out the old fountain pen and write the other girl, 
"Toots, it's all over !" We mean, of course, the Mae West 
of the screen. 

But that's Mae West's idea of what a woman ought to be. 
She thinks the feminine of the species ought to be smart. 
What does she mean by smart? No, it's not rating one 
hundred per cent in a geometry test. Nor being able to talk 
intelligently about the latest crisis in the Italio-Ethiopian 
situation. Quite the contrary! If any woman is cursed 
with a mind like that, the very smartest thing that she can 
do is to hide it from all the men she knows. Can a woman 
get and keep a man ? — that's the Mae West test for feminine 
brains ! 

This seductive blonde hip-waver doesn't mark any of the 
examination papers very high. Let's draw up around the 
old Klondike stove and hear what she has to say. 

"All women," she begins, "are dumb !" 

Having tossed this grenade into the ranks of defenseless 
feminism with as much ease as she might deprive a sucker 
of the Hope Diamond, Mae West relaxed. She stretched 
luxuriously among the pillows of her white chaise longue. 
Observing the stretch closely, I was perfectly willing to 
concede anything. Only because I wanted to keep her busy 
relaxing, I pretended that I was skeptical. 

"Don't you think you're being a bit comprehensive?" I 

"Yeah? Well, I'm giving you some news. I'm just taking 
in the brunettes for a change. For years everybody has 
been carrying on in a big way about blondes being dumb." 

We were sitting — or, rather, I was sitting and Mae was 
relaxing — in her apartment. It had been hard enough for 
me to break into this retreat and find the star at home. She 
has been busy recently with her current production, Klon- 
dike Annie, in which she is concerned with getting pros- 
pectors off the gold standard as fast as they get on. It was 
only because she was having some time out from these 
arduous duties that she had said, [Continued on page 78] 


The star of "A Message 
to Garcia" delivers an- 
other kind of message 
in this vivid interview. 
And you'll! like it! 




Kids Today Need 
Kicking Around! 



""*HE trouble with these modern kids" — says Wallace 
Beery — "is that they're taught too much by advice 
and too little by experience. They're given too many 
theories and too few black-and-blue spots. They're being 
made too soft, too dependent on other people — in short, they 
don't get kicked around enough !" 

And if there is any man in Hollywood — or in Keokuk or 
in Timbuctoo — who is really qualified to testify regarding 
the stimulating effect of a well-placed boot from Fate, that 
man is the aforesaid Beery. His life has resembled nothing 
so much as a continuous ride on a scenic railway, with a 
bouncing mat at the bottom of every dip and a kick at the 
top of every grade. He has been a section hand ; he has been 
a bank director. He has been an elephant trainer ; he has 
been — and is — a movie star. (He has just finished A Mes- 
sage to Garcia.) Also, he happens to be the adopted father 
of a four-year-old named Carol Ann, who is, to date, un- 

"You can't blame the kids," he says. "They're all right. 

Kids are always all right. One generation is neither better 
nor worse than another. The fault lies with the oldsters. 
They are too anxious to protect their children from the same 
kill-or-cure experiences that they, themselves, had as young- 

"The average American parents acquired a lot of fol-de- 
rol ideas during the flush 'twenties. They tasted sudden 
prosperity, lost their heads and immediately started pamper- 
ing their children. Sane American men, who had battled 
their way to success by virtue of their ability to take it on the 
chin and come back for more, proudly boasted, 'Thank God, 
my children will never have to face the hardships and self- 
denials I went through !' That Declaration of Insanity was 
heard so frequently that it became a symbol of the times. 

"The depression has caused considerable suffering — but 
I've got to give it credit for restoring a few of those mis- 
guided parents to sanity. The others, as far as I can see, are 
still laboring under the delusion that their kids will grow into 
tempered steel without ever going [Continued on page 84] 


Movie Test 




WOULD it surprise you to 
know that Paramount Pic- 
tures Corporation, or any 
other big film company, will give you 
serious consideration if you believe you 
have a chance for stardom ? It's true. 
Very true. One hundred to two hun- 
dred applicants for a chance in the 
movies are interviewed carefully each 
week in Paramount's New York office. 
It wasn't always thus. Only a few 
years ago Venus de Milo, with both 
arms intact, and rave reviews from a 
two-year run on Broadway, could have 
worn her arms down to the shoulder 
again, knocking in vain on Movie- 
land's gate. But today, thanks to Os- 
car Serlin, Paramount's chief talent 
scout and director of Paramount's fa- 
mous dramatic training school, anyone 
with strength enough to hobble into 

1501 Broadway (the Paramount 
Building) will be given serious con- 
sideration for a job in motion pic- 

We can say "thanks to Oscar Ser- 
lin," because Paramount is the pioneer 
in the "open door" policy of talent- 
scouting. Since Paramount estab- 
lished the first dramatic school to coach 
aspirants for the screen before giving 
them expensive screen tests, other film 
companies have followed suit — and 
are now eager, also, to interview per- 

sons believing themselves screen ma- 

"And why shouldn't an applicant for 
stardom seek out a film company and 
learn if he or she has what the movies 
are looking for?" asks this same Oscar 
Serlin, the man who discovered Fred 
MacMurray tooting a saxophone in an 
orchestra pit. Fred, by the way, at- 
tended the Paramount dramatic school 
three months before taking a screen 
test. You know the rest. He has be- 
come a star in one brief year — and is 
currently the hero of the first outdoor 
natural-color picture, The Trail of the 
Lonesome Pine, with Sylvia Sidney 
and Henry Fonda. 

• "How," I asked Mr. Serlin, "can 
anyone not already in the theatrical 
profession measure his talents and 

Gladys Swarth- 
out's screen test 
cost $1,250. She 
prepared for it 
for five months 

John Howard (above, 
left) passed the talent 
test this article talks 
about. So did Fred Mac- 
Murray (above, right) 
— and is a star after one 
year before the cameras 


Do you have what the movies 
want? Read this article — 
and learn how to test yourself! 


ability and determine whether or not 
his chances of success are great 
enough to warrant trying for a screen 
test and movie contract?" 

"Those with genuine ambition can 
do it," he persisted. "Persons of nor- 
mal intelligence are capable of judging 
their own ability and chances of suc- 
cess in the entertainment field, as they 
are in any other field — clerking, writ- 
ing, law or what-not. Once they have 
looked over what they have to sell, and 
are convinced that they are fitted for 
the movies, we want to see them. If 
we want what they have to sell, we'll 
buy — and, believe me, we are genuinely 
grateful to everyone who comes in, 
whether we buy or not." 

"You say they can examine them- 
selves," I reminded him, "but I want 
to know exactly how they can do it. 
What questions must they ask them- 
selves? What kind of yardstick can 
they use to measure their own ability?" 

"I'll give you a yardstick," was Ser- 
lin's answer to that. "We'll make it 
possible for everyone genuinely inter- 
ested to take a screen test in his own 

Then the huddle. Pencil in hand, 
one of his assistants helping him, Ser- 
lin took time out to make the set of 
screen test questions you see at the end 
of this article. 

Finally, he looked up from his task. 
"It wasn't as easy as I thought it would 
be," he admitted, "and I'd like to cau- 
tion you that, before anyone takes this 

*% ^ K<K 


test, he should be familiar with the 
way an applicant is greeted here. What 
we have done," Mr. Serlin explained, 
"is to put on paper the same questions 
we ask when an individual calls in per- 
son and is interviewed by a talent 
scout. For anyone to answer these 
questions intelligently, he or she 
should get a little behind-the-scenes 
picture of what goes on when we inter- 
view an applicant, a better understand- 
ing of the qualities we are seeking." 

• All right, to get the whole picture, 
let's suppose that you, the reader, 
have funds to support yourself in New 
York for a period of six months, and 
you have accepted Mr. Serlin's invita- 
tion. Just what happens when you 
walk into his office? 

An alert secretary will ask the rea- 
son for your call and, learning it, will 
usher you into the presence of one of 
Mr. Serlin's assistants, perhaps Mr. 
Boris Kaplan, first assistant talent 
scout. If Mr. Kaplan sees you, you 
will find yourself engaged in a conver- 
sation as general as one that you might 
conduct with your best friend. But 
all the time you are chatting, Mr. Kap- 
lan's experi- [Continued on page 72) 

Eleanors Whitney, though only eigh- 
teen, passed the talent test and became 
a sensation in her first dancing role 

If you arz in this 

bracket, you are 


The passing mark 

If you arz in this 
bracket, you have 
failed the first test 







\Arwif* TVcf 









Try a Movie Test 


Own Mi 


W( IULD it surprise you to 
know that Paramount Pic- 
tures Corporation, or any 
other big film company, will give you 
serious consideration if you helieve you 
have a chance for stardom ? It's true. 
Very true. One hundred to two hun- 
dred applicants for a chance in the 
movies are interviewed carefully each 
week in Paramount's New York office. 
It wasn't always thus. Only a few 
years ago Venus de Milo, with both 
arms intact, and rave reviews from a 
two-year run on Broadway, could have 
worn her arms down to the shoulder 
again, knocking in vain on Movie- 
laud's gate. Hut today, thanks to Os- 
car Serlin, Paramount's chief talent 
scout and director of Paramount's fa- 
mous dramatic training school, anyone 
with strength enough to hobble into 

•1501 Broadway (the Paramount 
Building) will be given serious con- 
sideration for a job in motion pic- 

We can say "thanks to Oscar Ser- 
lin," because Paramount is the pioneer 
in the "open door" policy of talent- 
scouting. Since Paramount estab- 
lished the first dramatic school to coach 
aspirants for the screen before giving 
them expensive screen tests, other film 
companies have followed suit — and 
are now eager, also, to interview per- 

sons believing themselves screen ma- 

"And why shouldn't an applicant for 
stardom seek out a film company and 
learn if he or she has what the movies 
are looking for ?" asks this same Oscar 
Serlin, the man who discovered Fred 
MacMurray tooting a saxophone in an 
orchestra pit. Fred, by the way, at- 
tended the Paramount dramatic school 
three months before taking a screen 
test. You know the rest. He has be- 
come a star in one brief year — and is 
currently the hero of the first outdoor 
natural-color picture, The Trail of the 
Lonesome Pine, with Sylvia Sidney 
and Henry Fonda. 

• "How," I asked Mr. Serlin, "can 
anyone not already in the theatrical 
profession measure his talents and 


Gladys Swarth- 
out's screen test 
cost $1,250. She 

firepared for it 
or five months 

John Howard (above, 
left) passed the talent 
test this article talks 
about. So did Fred Mac- 
Murray (above, right) 
—and is a star after one 
year before the cameras 

Do you have what the movies 
want? Read this article — 
and learn how to test yourself I 


ability and determine whether or not 
his chances of success are great 
enough to warrant trying for a screen 
test and movie contract ?" 

"Those with genuine ambition can 
do it," he persisted. "Persons of nor- 
mal intelligence are capable of judging 
their own ability and chances of suc- 
cess in the entertainment field, as they 
are in any other field — clerking, writ- 
ing, law or what-not. Once they have 
looked over what they have to sell, and 
are convinced that they are fitted for 
the movies, we want to see them. If 
we want what they have to sell, we'll 
buy — and, believe me, we are genuinely 
grateful to everyone who comes iti, 
whether we buy or not." 

"You say they can examine them- 
selves," I reminded him, "but I want 
to know exactly how they can do it. 
What questions must they ask them- 
selves? What kind of yardstick can 
they use to measure their own ability ?" 

"I'll give you a yardstick," was Ser- 
lin's answer to that. "We'll make it 
possible for everyone genuinely inter- 
ested to take a screen test in his own 

Then the huddle. Pencil in hand, 
one of his assistants helping him, Ser- 
lin took time out to make the set of 
screen test questions you see at the end 
of this article. 

Finally, he looked up from his task. 
"It wasn't as easy as I thought it would 
be," he admitted, "and I'd like to cau- 
tion you that, before anyone takes this 

test, he should be familiar with the 
way an applicant is greeted here. What 
we have done," Mr. Serlin explained, 
"is to put on paper the same questions 
we ask when an individual calls in per- 
son and is interviewed by a talent 
scout. For anyone to answer these 
questions intelligently, he or she 
should get a little behind-the-scenes 
picture of what goes on when we inter- 
view an applicant, a better understand- 
ing of the qualities we are seeking." 

• All right, to get the whole picture, 
let's suppose that you, the reader, 
have funds to support yourself in New- 
York for a period of six months, and 
you have accepted Mr. Serlin's invita- 
tion. Just what happens when you 
walk into his office? 

An alert secretary will ask the rea- 
son for your call and, learning it, will 
usher you into the presence of one of 
Mr. Serlin's assistants, perhaps Mr. 
Boris Kaplan, first assistant talent 
scout. If Mr. Kaplan sees you, you 
will find yourself engaged in a conver- 
sation as general as one that you might 
conduct with your best friend. But 
all the time you are chatting, Mr. Kap- 
lan's experi- [Continued on page 72] 

Eleanore Whitney, though only eigh- 
teen, passed the talent test and became 
a sensation in her first dancing role 


CONSTANCE BENNETT talks on clothes for the 
first time in nearly three years — that news deserves 
headlining. For Constance — one of the world's best- 
dressed women — has ideas on the snhject of style! If you 
want to acquire that "best-dressed" look yourself, with art 
and speed, if you have been hunting definite rules to follow, 
here are words to take to heart : 

"There are certain 'tricks' to dressing that every woman 
can master — tricks that can increase her interest and en- 
joyment in life," began the slim, svelte star of the new 
G-B picture, Everything Is Thunder. "But they have 
nothing to do with 'tricky dressing' — nor are they at all 
dependent upon a large clothes budget. The master key to 
correct clothes is simply this : Know the lines of your figure 
and the tones of your coloring — then adhere strictly to 
simplicity. Even the girl who has to 
watch every penny can belong to the 
'best-dressed' group. The number 

of costumes in her wardrobe has nothing to do with it. If 
a girl has only a limited amount to spend on clothes, she 
should remember that it is wise and economical (in the 
long run) to have a few good things, carefully chosen. It 
is neither wisdom nor economy to buy cheap things. 

"Let us consider two girls who are similar types. They 
are thin, we'll say, and angular, with sallow complexions. 
One is unhappy, confused, likens herself to a scarecrow; 
she believes there is 
nothing quite right for 
her, so she wears just 
anything. The other 

"MS® 56 

"The woman whose 
costume is perfectly 
blended will be out- 

"Good taste is not 
dependent upon an 
extravagant budget" 

Connie knows what 
every smart woman 
should wear, but sel- 
dom talks about it. 
This interview with her 
is a CLASSIC scoop! 

• — Portraits by Hurnll 

— Candid Photo by Rhodes, Classic Photograph 

Even at home, in lounging pajamas, Constance Bennett has 
that extra bit of chic that marks the well-dressed woman ! 

recognizes that liabilities can be capitalized. She makes her 
type outstanding. There is no deadness or dullness in her 

"Whether she has two dresses or twenty, she follows her 
rules. Soft, warm colors dominate her wardrobe. If she 
has a large wardrobe, she uses rich pile fabrics or layers 
of cobwebby materials of delicate tones. If she has a small 
wardrobe, one dress of each, carefully chosen, will supply 
her needs. Pastel tints for evening, light tones for after- 
noon. Clothes that have a slight dash to them for the street. 
A trick she uses cleverly is taking advantage of the vogue 
for bulky sleeves and flared skirts. Her necklines are either 
oval or round, her hats have little curved brims. 

"For the small woman, the trick is to scale everything to 
her size. No matter how tempting fussy adornment or 
heavy fabric may be to her, she must resist it. Daintiness 
and utter simplicity should be her rule. Long, flaring 
skirts, long capes and free-flowing draperies help to give 
her an appearance of greater height, which every small 
woman longs for. For small women can be exquisite in 
their daintiness. 

"Aside from these 'individual' tricks," Constance con- 
tinued, "there are certain basic rules that every smart woman 
should know. For example : A wide, turned-back cuff will 
make the arm appear shorter ; a cuff that turns down will 
apparently lengthen it . . . Light gloves, attracting attention 
against an otherwise dark outfit, make the figure seem 
broader . . . Too-narrow shoulders on a too-slim girl can 
be broadened amazingly by yoke effects . . . Pockets for 
the large woman should not be curved or horizontal ; they 
should be either vertical or diagonally slit ... If you're long- 
waisted, it's wise to create a softness [Continued on page 82] 


» * A *** 

*** \a* 



( I) P I 

LL tress J ike 



Win a Free 



r«- e , th« 


cut ;„ '*«*« 


a dress like one in a star's wardrobe! 
On this page, you see three attractive 
models, . worn by three Warner 
Brothers' stars. In the sixty-two-page 
book, Motion Piclure-Movie Classic 
Hand-Knit Fashions — obtainable in 
department stores — you will find 
twenty more, with instructions for 
each. (It's the first book of its kind!) 
And in knitting a dress, you may win 
a free trip to Hollywood! See details 
and rules on page 58 of this issue. 







GX* ft 

THE man with the kindliest eyes and biggest heart 
in Hollywood is Director Mervyn LeRoy. An 
unassuming man, he is averse to talking about 
the fact he has discovered some of the greatest stars 
in Hollywood. He would much rather talk about his 
newly-born son, or about the picture he is now direct- 
ing (which happens to be Anthony Adverse — one of the 
.year's biggest pictures), than to tell you how he found 
and developed Clark Gable. Not to mention Ginger 

Ginger was one of Mervyn's first protegees. It was 
he who insisted that she should be in 42nd Street, the 
picture that made filmusicals popular. He believed 
that she was a potential star- and kept trying to make 
others see her sincerity and artistry. How did he do 
it? Mervyn gave Ginger faith in herself. That is 
what sold Ginger Rogers. A man who had fought a 
battle with life — and won — instilled the same do-or-die 
spirit in her without her knowing it ! And she 
marched on, and up, and out of his life. 

Encouragement and intelligent understanding are in- 
spiring things to those with talent who are struggling. 
Stars like-Loretta Young, Boris Karloff, Aline Mac- 
Mahon and Glenda Farrell can testify to that — think- 
ing of the encouragement [Continued on page 88] 

Mervyn LeRoy! 

The man who Is now direct- 
ing "Anthony Adverse" spotted 
Clark when no one else could 
see him. Here's the untold story! 


"I can still see Clark 
as he was that night 
—a man with kind- 
ness, suffering and 
deep feeling i n 
those fine eyes of 
his. That sold me" 



without moisture - proof powder 

Combat shine, floury streaks, clogged 

pores with Luxor, the truly wo/stttre- 

proof and shine-proof face powder 

6,000,000 women use! 

Janet Gaynor has romance appeal — the 
1936 kind — in Small-Town Girl. And 
it wins her Robert Taylor, no less! 

9 So many women are cheated of poise and 
charm by shiny nose, floury streaks, clogged 
pores! Yet a simple change to Luxor, the 
moisture-proof face powder, often clears up 
these conditions like magic! 

The secret is simple. Tiny pores on your 
face give off moisture. If face powder absorbs 
this natural skin -moisture, a paste results. 
Nose and face look shiny, floury streaks form, 
and often pores themselves clog up. 

So discard, today, whatever face powder you 
may be using. And try Luxor on our money- 
back guarantee. 

Make this test. Put a little Luxor powder 
in a glass of water. Note how it stays soft and 
fine— won't mix into paste. Thus you know 
Luxor won't mix with skin moisture and 
cause shine and blemishes. To induce you to 
try this marvelous face powder in a range of 
smart modern shades, we offer this gift at any 
cosmetic counter: 

A Free 2-dram Flacon of Perfume 

~La Richesse by name, and selling regularly for $3 an 
ounce. Both powder and perfume are wrapped together, 
and sell for the price of the powder alone, 55c. Small 
sizes of Luxor powder at all 10c stores. Try it today. 



Luxor, Ltd., 1355 W. 31st Street 
Chicago, Illinois Dept. H-4 

Please send me your 4-piece make- 
up kit including generous amount of 
Luxor Moisture-Proof Powder, Lux- 
or Rouge, Luxor Special Formula 
Cream and Luxor Hand Cream. Here 
is 10c to help cover mailing. (Offer 
not good in Canada). Check, 
Try Amazing Powder: Rose Rachel □ Rachel D 
New Luxor Flesh G 

Hand Cream RoUGE : Radiant D Medium □ 

This marvelous funglowQ Pastel ID 

new skin softener Vivid □ RoseblushD 

keeps hands soft, 

white, smooth. It Name _ 

is guaranteed non- 

Eticky and dries Address 

instantly. At all 

cosmetic counters. City -. ~....._ 




MEN have gone old-fashioned on us 
again. They are as changeable _ as 
our dress styles. And now, — girls 
who have gone sophisticated because they 
thought men wanted them that way, have 
to learn to blush again. 

Norma Shearer, now filming Romeo and 
Juliet, will glorify youthful, unsophisticated 
femininity as the tragic Juliet. Gladys 
Swarthout has just shown us, in Rose of 
the Rancho, how men can be charmed with 
poise and modesty. And Olivia de Havilland 
has demonstrated, in Captain Blood, the 
appeal of a spirited girl who, for all of her 
spirit, would be capable of blushing. Janet 
Gaynor, co-starring with Robert Taylor, 
will portray a modern version of the type 
in Small-Totvn Girl. 

If vou could see your best beau's heart 
skip a few beats, the moment your cheeks 
flush with color, you'd agree with me that 
we all might do well to follow the lead of 
Norma Shearer, Gladys Swarthout, Olivia 
de Havilland and Janet Gaynor . . . unless, 

Movie Classic for April 1936 

of course, you made a New Year's resolu- 
tion to remain a bachelor girl. If you did 
. . . stop here ! On the other hand, if you 
have decided to take advantage of Leap 
Year, or the fact that the romantic air 
of Spring is on its way . . . read on. 

What has all this to do with beauty, you 
ask? Plenty! Grace Donohue, internation- 
ally known authority on beauty, is coming 
to your rescue if you have forgotten how to 
blush ! Miss Donohue has traveled to the 
far ends of the earth, studying women's 
beauty problems. She has experimented 
with and tested beauty preparations, and is 
now offering you her latest achievement— 
a natural blush cream, which she calls 

Sanguatone Cream should be applied 
evenly with your fingertips to your cheeks. 
You will experience a tingling, glowing 
sensation, which will last only a few sec- 
onds, for it stimulates circulation and the 
proper amount of oxygen is carried to your 
skin surface by your red blood cells. It also 
nourishes your tissues — and therefore is 
an insurance against blemishes and wrinkles. 
When you remove I Continued on page 59] 

What Your Favorites Are Doing 

Do you want to know what's doing in 
the studios — what pictures and what stars 
you will soon be seeing on the screens of 
your local theatres? If so, then come 
with MOVIE CLASSIC— each month— 
''behind the scenes" of Hollywood- 

LET'S start our studio tour this month 
with the Universal Studios, which 
ramble helter-skelter over the oak- 
studded Cahuenga hills. 

Three big pictures are now being filmed 
there. Two of these — Sutter's Gold and 
Show Boat — were reported upon in this 
column last month. But there is something 
to add to the report : Watch Allan Jones 
who is playing opposite Irene Dunne in 
Shozv Boat. Allan made his screen debut 
in the operatic sequences of A Night at 
the Opera, and Hollywood, en masse, cheer- 
ed his voice and his personality. Now, ex- 
citing reports about him are seeping out 
from the Universal projection rooms and 
it seems safe to predict that a new star is 
sky-rocketing into the cinematic heavens. 
The third of the pictures now being 
filmed by Universal is Love Before Break- 
fast, co-starring Carole Lombard and Pres- 
ton Foster. It is a rollicking comedy- 
drama that portrays Carole as a spoiled 
daughter of the rich who is being "rushed" 
by a wealthy playboy. They quarrel on ev- 
ery possible occasion until he finally kid- 
naps her, takes her aboard his yacht and 
succeeds in "tamins: the shrew." 

L tional, nearby. The Green Pastures, is 
attracting much attention. It is one of the 
most daring experiments attempted by any 
major studio in the history of the screen. 
Following Marc Connelly's great play with 
fidelity, the picture will offer an all-Negro 
cast and depict the Negro conception of 
heaven. The play was a sensation on the 
New York stage and more than a sensa- 
tion in several European countries where 
it was banned as sacrilegious. 

Anthony Adverse, starring Fredric 
March, still is in production, and is reach- 
ing epic proportions. And the whole studio 
is talking about the performance Al Jolson 
is giving in The Singing Kid. A big pic- 
ture just starting is Hearts Divided, with 
Marion Davies and Dick Powell. More 
about it next month. 

TDOMEO and Juliet is the "biggest" 
-* »- picture ever undertaken by Metro- 
Goldwyn-Mayer, or any other studio. It is 
the biggest in point of cost, the biggest in 
the amount of research, the biggest in the 
number and magnificence of its sets. 

Norma Shearer, as you know, stars as 
Juliet and, of the entire cast, she is the 
only one who has never before played a 
Shakespearean role. Leslie Howard shares 
star "billing" as Romeo, John Barrymore 
plays the important part of Mercntio, and 
Edna May Oliver, William Henry. C. Au- 
brey Smith, Reginald Denny, Basil Rath- 
bone, Henry Kolker, Ralph Forbes, Con- 
way Tearle and Violet Kemble Cooper 
head the supporting cast. Miss Cooper, by 

By Eric L. Ergenbright 

Hollywood Editor of MO]' IE CLASSIC 

Al Jolson is turning in a great per- 
formance in The Singing Kid, in which 
little Sybil Jason plays the title role 

the way, is the daughter of a long line of 
Shakespearean players. Her great-grand- 
mother is still remembered as one of the 
greatest Juliets of the English theatre. 

Clark Gable and Jeanette MacDonald are 
co-starring in San Francisco. Joan Craw- 
ford is just starting work on her new 
picture, Elegance. Myrna Loy and Jean 
Harlow are resting, following completion 
of Wife vs. Secretary. Myrna also has 
just finished The Great Ziegfeld, with Wil- 
liam Powell, Luise Rainer, Virginia Bruce 
and most of the living Follies stars. Nel- 
son Eddy is on a concert tour. 

Janet Gaynor and Robert Taylor are co- 
starring in Small Town Girl, which, with- 
out being intended as a super-colossal, has 
all the earmarks of being a very entertain- 
ing picture. And, by the way, Bob Taylor 
is again playing a surgeon. By the time 
that young star tucks a few more such 
pictures under his belt, he should be able 
to hang out his shingle as an M.D. and 
build a practice. Incidentally, his father 
was a well-known doctor in Nebraska and 
Bob actually studied medicine in college. 

AT COLUMBIA, the biggest little studio 
*■ in the business, two supers are in pro- 
duction. Opera Hat, a whirlwind comedy- 
drama, stars Gary Cooper in the role of a 
small town boy who suddenly inherits twen- 
ty millions and goes to New York, where 
the newspapers declare a Roman Holiday 
at his expense and manage to paint him as 
an eccentric just one step removed from a 
padded cell. Jean Arthur, as a sob-sister 
on one of the Metropolitan dailies, manages 

to interview him, falls in love, and the 
merriment is under way. 

It is interesting to note that Jean Arthur 
and Gary Cooper were signed, at approxi- 
mately the same time years ago, by Para- 
mount. _ Gary skyrocketed to stardom ; Jean 
was adjudged a failure and released from 
contract. When she was leaving her Para- 
mount dressing-room for the last time, she 
said to Gary, who was one of her best 
friends, "Don't get the idea that I'm 
whipped. I'm going to fight my way to the 
top in spite of this setback. Someday we're 
going to be co-starred in a picture."" And, 
with Opera Hat, she has kept her promise. 
It took her more than five years to do it, but 
such fighting spirit as hers can't be denied. 

Cissy, the new Grace Moore picture, 
promises to excel both of her previous 
films. Laid in Vienna, featuring Fritz 
Kreisler's beautiful music, the picture is 
assured of romantic charm. Grace Moore, 
in "better voice" than ever before — thanks 
to that tonsilectomy which kept her off the 
air for several weeks — tells me that she 
has never been so enthusiastic about a pic- 
ture. And her enthusiasm has stimulated 
the entire cast and crew. Joseph Von 
Sternberg, the director, usually a veritable 
Simon Legree on the set, is bubbling with 
good humor and the milk of human kind- 
ness on this particular production. 

AT 20th Century-Fox, The Country Doc- 
tor — starring the Dionne Quintuplets — 
is completed, as is A Message to Garcia. 
starring Wallace Beery, John Boles and 
Barbara Stanwyck. However, another big- 
picture — Under Two Flags — is just start- 
ing. It co-stars Ronald Colman and 
Claudette Colbert. We will visit that pro- 
duction next month. 

At RKO-Radio, the script of the next 
Fred^ Astaire-Ginger Rogers musical, / 
Wont Dance, is being whipped into shape, 
while Fred celebrates the arrival of his 
first son and heir and Ginger takes a brief 
holiday. The biggest picture in production 
at the moment is Farmer in the Dell, with 
Fred Stone and Jean Parker. Katharine 
Hepburn is just starting Mary of Scotland 
— her first historical picture — and this looms 
as a major movie event of the year. Anne 
Shirley is preparing to make Little Dorrit, 
the newest of the Dickens film cycle. Ann 
Harding is making The Witness Chair. 

Thirteen Hours by Air, at Paramount, 
co-stars Joan Bennett and Fred MacMur- 
ray, Brian Donlevy, Zasu Pitts, Dean Jag- 
ger and John Howard have important roles. 

The Moon Is Our Home, co-starring 
Margaret Sullavan and Henry Fonda, is 
probably causing more gossip and surmise 
in Hollywood than any other picture now 
in_ production. Not because it appears cer- 
tain to be a smash hit, but because Henry 
and Margaret were once Mr. and Mrs. 
Even in this divorce-famous town it rarely 
happens that two ex's find themselves co- 
starring in a scorching love story. To 
make the situation even more interesting, 
they absolutely refuse to refer to their 
marriage when talking with the press. 

Let's return next month for the final fade- 
out and the inevitable "clinch." And to 
watch Marlene Dietrich and Charles Boyer 
together in / Loved a Soldier. 

Until then, hasta luego. 






to the g 
he's mJzP 

r 0U spend long hours making your- 
self attractive for him to look at. 
Hair, skin, eyes, lips, fingernails, clothes 
. . . you want him to approve of every 
least detail. 

But don't forget — one ugly thing can 
undo in a minute all the care you've 
taken with your looks. The unpleasant 
odor of underarm, perspiration. 

Nothing so quickly and surely disillu- 
sions a man about a lovely looking girl 
as this. 

Don't run the risk. Give your under- 
arms necessary daily care, just as you 
give your face. 

There's a quick, easy way to do it. 

It takes just half a minute to use Mum. 
And you can use it any time, before dress- 
ing or after. For Mum is harmless to 

It's soothing to the skin, too. You can 
use it right after shaving the underarms. 

Remember, Mum doesn't prevent the 
perspiration itself — just its horrid odor. 
Depend upon it to keep you safe from 
this danger to your happiness. Bristol- 
Myers, Inc., 630 Fifth Ave., New York. 


you from another ever-threatening danger 
of unpleasantness. 


Win $600 with an Idea 
for a Movie Trademark! 

WHAT could you do with $600 in 
cold cash, if you had it right 
now — this very minute ? Buy 
yourself a new car . . . some new furni- 
ture for the house . . . maybe make a 
down-payment on a new home ... or 
lift the mortgage on the old one ? 

Or better yet : buy yourself a grand 
new spring wardrobe ... or take that 
trip to Havana, Hollywood or Hono- 
lulu that you have been looking forward 
to all your life? Now just what would 
you do with $600, were it to drop right 
into your lap — kerplunk? Read on! 

On behalf of their newly-formed 
company — Pickford-Lasky Productions. 
Inc. — -Alary Pickford and Jesse L. 
Lasky are offering through five Faw- 
cett Publications six cash prizes total- 
ling $1,000 for trademark suggestions. 
The pick of the entire lot of suggestions 
in the judges' estimation, will net its 
proposer the sum of $600 in cash. 

Submit an idea for a Pickford-Lasky 
trademark to Movie Classic. If it is ad- 
judged the best received by this maga- 
zine, you will receive $100 — plus an op- 
portunity to win $500 more. Automatic- 
ally, your title will be placed alongside 
the winning titles in the other Fawcett 
magazines and considered for the grand 
prize of $500 ! 

"We are seeking an emblem," says 
Mr. Lasky, president of the Pickford- 
Lasky Company, "which will serve as 
a sub-conscious salesman and perma- 
nently identify our productions as mo- 
tion pictures of quality." 

Work is already started on One Rainy 
Afternoon, Pickford-Lasky's initial 
production, starring Francis Lederer — 
the first picture [Continued on page 831 

Mary Pickford and Jesse Lasky 
(above) offer you a fortune for a 
symbol for their new company! 

Francis Lederer and Ida Lupino ap- 
pear in One Rainy Afternoon, which 
will bear the winning trademark 

Here are five famous film trademarks now in use — What's your idea for a new symbol? 

Movie Classic for April, 1936 




ftom I i 


to the 



SKIM J — — ^ 

LATER M iM^lB^^ 



complexion] isn't that 




.<* . 

by clearing skin irritants 
out of the blood 

Copyright, 1936, Standard Brands Incorporated 

Don't let Adolescent Pimples 
give YOU a job problem 

FROM the beginning of adolescence — at 
about 13, until 25, or even longer — young 
people are frequently worried by pimples. 

Important glands develop and final growth 
takes place during this time. This causes dis- 
turbances throughout the body. The skin be- 
comes oversensitive. Waste poisons in the 
blood irritate this sensitive skin. Pimples 
pop out! 

But you can overcome these adolescent 
pimples. Fleischmann 's fresh Yeast clears the 
skin irritants out of your blood. Unsightly 
pimples disappear. 

Eat Fleischmann's Yeast 3 times a day, 
before meals — plain, or in a little water — 
until your skin is entirely clear. Start today. 

Movie Classic for April, 1936 


1 1/ 

y lO wonder Hollywood 
stars insist on HOLD-BOBS 
—an alluring hairdress is 
necessary in every close- 
up, and these invisible 
bob pins insure a neat, 
natural appearance," 
says glamorous Roberta, fea- 
tured vocalist with Carlos 
Molina and his orchestra. 

Roberta icas given a screen test recently in 
the famous Search for Talent, sponsored 
by hold-bob Bob Pins, Universal Pic- 
tures, Motion Picture and Screen Play. 

The stars of Hollywood know how important 
an attractive well-groomed hairdress is . . . 
it's just as important as complexion, make- 
up and clothes. That's why Hollywood is 
so enthusiastic about hold-bobs, the bob 
pin that keeps coiffures lovely at all times. 

^ herever you are — your hair attracts the 
same attention as the coiffures of the movie 
stars on the screen. Keep your hairdress 
looking neat and well-groomed by using 
hold-bobs. They're available in colors to 
match all shades of hair; their small, round, 
invisible heads do not show in the hair; their 
smooth, round points cannot scratch the 
scalp; and their flexible tapered legs, one side 
crimped, hold your hair securely in place. 

Insist upon hold-bobs . . . there's no 
bob pin like them! 

Final winners of the Search for Talent 
ivill be announced shortly 


Sol H. Goldberg, Pres. 

1918-36 Prairie Avenue, Dept. F-46 
Chicago, HI. 

HOLD-BOBS are available 
everywhere. ..they're easily 
identified by the Gold and 
Silver Metal Foil Cards. 
Also sold under the brand 
name of BOB-ETTES. 

"&& s> 

Patterns for 

From Anita Louise's Spring Wardrobe 

ill <\\\ 


Copyright 1936, by The Hump Hairpin Mfg. Company 

914 — Shirtmaker frocks are smarter 
than ever in Hollywood this season. A 
very youthful air makes Anita Louises 
two-piece shirtmaker most attractive 
for sub-deb and younger women types. 
While it's perfect for sports and spec- 
tator sports, it is also lovely for town — 
as Anita is discovering between scenes 
of Anthony Adverse. It may be fash- 
ioned of cotton, linen, or tub silk, as 
well as plain or printed crepe. This 
easily copied model with its trim row 
of buttons and inverted front pleat is 
particularly attractive in a soft shade of 
apple-green with a vari-colored Ascot 
tie. Designed for sizes 14, 16, 18 and 
20 years; 36, 38 and 40-inch bust. 25c. 



ly styled in every detail — are easy to 
use (with complete, clear instructions) 
— and are accurately cut, insuring per- 
fect lines. They are obtainable at any 
store selling "Screen Star Patterns." Or 
you may order trom us directly by using 
the coupon on the opposite page. 


Movie Classic for April, 1936 

Thu£ zohu iAe fwrta 

915 — This darling dress has an accent 
to its new and charming neckline. Anita 
Louise can safely turn her back on her 
most ardent admirers because of its 
smart tailored effect with buttons from 
neck to hem. (Note that it is belted 
only at the back.) Crepe print silk, 
with the collar of toning plain crepe, 
offers interesting trim. Such a dress in 
your own wardrobe will see you through 
special occasions, besides being ultra- 
special occasions, as well as everyday 
wear. Designed for sizes 14, 16, and 
18 years; 36, 38 and 40-inch bust. 25c. 

MOVIE CLASSIC'S Pattern Service, 
Fawcett Bldg., Greenwich, Conn. 

For the enclosed cents, please send 

me Anita Louise Pattern Noi 914 — Anita Louise 
Pattern No. 915 (circle style desired). 

Size Bust 




Patterns, 25c each 

Canadian readers may order by mailing coupon to 
MOVIE CLASSIC'S Pattern Service, 133 Jarvis 
St., Toronto, Canada. 

Most Bad Breath Begins 
with the Teeth! 

"AKE sure you don't have bad breath ! 
Use Colgate Dental Cream. Its special 
penetrating foam removes all the decaying 
food deposits lodged between the teeth, along 
the gums and around the tongue — which den- 
tists agree are the source of most bad breath. 
At the same time, a unique, grit-free ingredi- 
ent polishes the enamel— makes teeth sparkle. 
Try Colgate Dental Cream— today! Brush 
your teeth . . . your gums . . . your tongue . . . 
with Colgate's. If you are not entirely satis- 
fied after using one tube, send the empty tube 
to COLGATE, Jersey City, N. J. We will 
gladly refund TWICE what you paid. 


behind his 


Movie Classic for April, 1936 



Beautiful eyes are 
the most important 
feature of any wo- ", 

man's charm— thatis 
why fastidious women 
who wish to be exqui- \ 

sitely groomed in eye . *:'":' 
make-up demand May- 
belline eye beauty aids. 
They know that the modern 
magic of these fine cosmetic 
creations gives them the nat- 
ural appearance of beautiful 
eyes. Not to use Maybelline 
eye beauty aids is sheer neg- 
lect of charm. When you see 
what lovely long, dark lashes, i 
sofdy shaded lids, and grace- J 
fully formed eyebrows May- % 
belline eye beauty aids can 
give you, you'll adore these 
exquisite eye cosmetics. t.,. 

You will want the entire . •p r "^\. 
line of Maybelline eye /Jif 
beauty aids to effect a per- . '^Sv- J< 
fectharmonyinyourcom- "" ^***C . 
plete eye make-up. Try them ~"^5jj 
today — they will open your eyes to 
new beauty — eye make-up 
done in good taste! 


in BLACK, 
or BLUE. 



Win a Trip 
to Hollywood! 

The sponsors of this great nationwide 
knitting contest offer these fourteen valu- 
able prizes: (1) One railroad trip, with 
all expenses paid, to Hollywood and re- 
turn; (2) one airplane trip from New 
York to Hollywood or Hollywood to New 
York, value $288; (3) Mendoza beaver 
coat, value $100; (4) Tavannes wrist 
watch, value $100; (5) one year's supply 
of shoes (A. C. Lawrence), value $75; (6) 
one hand-hooked rug (Fleisher), value 
$75; (7) one hand-made Afghan (Bern- 
hard-Ulmann Co.), value $75; (8) and 
(9) one year's supply of Mojud Clari- 
phane silk stockings — e.ach supply valued 
at $54; (10) one year's supply of Len- 
theric Perfume and Cosmetics, value 
$50.70; (11) evening ensemble of Coro 
Pearls (Cohn and Rosenberg), consist- 
ing of necklace and bracelet to match, 
value $50; (12) one year's supply of 
Maiden Form brassieres and girdles, 
value $50; (13) one Gruen wrist watch, 
value $50; (14) one year's supply of Cor- 
day perfume (Voyage a Paris), $32.50. 


1. To compete in this contest, you may 
knit any garment pictured on page 50 or 
CLASSIC Knitting Instruction Book. 

2. This instruction book may be ob- 
tained in any department store selling 
Fleisher, Bear Brand or Bucilla yarns. 
The price of the book is 25c. 

3. The contest opened February 1, 1936, 
and closes May 1, 1936. 

4. The garment that you knit will be 
your entry in the contest — and it will be 
judged solely for quality of workmanship, 
by the famous women named below. 

5. The prizes will be as listed at left. 

6. At any time between April 1 and 
May 1, 1936, wrap your entry carefully 
and mail it parcel post, insured, to Knit- 
ting Contest Editor, 20-22 Greene St., 
New York City, enclosing stamps for its 
return to you by parcel post, insured. 
Every dress will be returned. The spon- 
sors of this contest will not be held liable 
in case of loss or damage to the garment 
submitted, but will take every reasonable 
precaution to return it safely. 

7. All entries must be accompanied by 
all the bands from Fleisher, Bear Brand 
or Bucilla yarns used in knitting your 
garment, or by facsimiles of the bands. 

8. Before sending your garment as an 
entry in the contest, you must reserve 
space for it by mailing the application 
blank (or facsimile) on papre 71. This 
does not obligate you to send a garment 
later. It merely reserves space for your 
garment, if you do send one. 

9. In case of ties, duplicate prizes will 
be awarded. 

10. The judges are: Mrs. James Roose- 
velt, the President's mother, Grand 
Duchess Marie, Tobe, fashion authority, 
Miss Winifred Ovitte, fashion authority, 
Mrs. William W. Hoppin, society leader 
and Mrs. Gaynor Maddox, fashion writer. 
Their decision will be final. 

11. This contest is open to everyone 
except employees, or relatives of em- 
ployees, of Motion Picture Publications, 
Inc., Fawcett Publications, Inc., Warner 
Brothers-First National Pictures, and 
the manufacturers of Fleisher, Bear 

| Brand and Bucilla yarns. 

Movie Classic for April, 1936 


Ginger Rogers 

Myrna Loy 
Jackie Cooper 

Write only three words to 
win. It's easy and fas- 

Suggest a new name for Rin-Tin-Tin, Jr., 
appearing with Jackie Cooper in Tough 
Guy. Re-name this dog and two others. 
That's all you have to do to win. 

$500.00 in cash; a son of the famous 
Rin-Tin-Tin, Jr. from Jackie Cooper; a 
oedigreed Wire Haired terrier puppy 
from Myrna Loy; a pedigreed Scottie 
ferrier puppy from Ginger Rogers; 10 
of the famous Gan+ner and Mattern 
swim suits; $200 Grand Prize; three 
prizes of $50 each, 30 prizes of $5 
each — and 300 other prizes. 

MAGAZINE, now on sale, for full con- 
test details. Coming movies in story 
form this issue include: 73 Hours By 
MAC MURRAY; Don't Gamble On 
Love with ANN SOTHERN and 
BRUCE CABOT; Sutter's Gold, with 
and LEE TRACY. Also many other 
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a present from your movie favorite. 





~~-*~^^U/*>°- . 

It's upsetting to every woman — that 
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And yet — there's no excuse for "acci- 
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f - 

Leap Year Beauty Secrets! 

[Continued from page 52] 

this cream, you will behold a face that is 
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Miss Donohue has also created Seba 
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sun, wind and dust and to keep it fresh, 
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It is an excellent lubricant for the skin 
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keeping your skin firm. 

These four entirely new preparations 
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York City. 

BUT it isn't fair to leave you blushing. 
Not until you have become accustomed 
to the new vogue, anyway, so perhaps I'd 
better "tone you down" a bit. 

The toning touch to natural beauty is 
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face powder. Too many girls use powder 
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nose. If the right powder is correctly ap- 
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transparent appearance. The correct shades 
will blend perfectly with your own color- 
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that ironic comment about having fallen 
into the flour barrel. 

Your face powder's texture must be right 
so it will adhere for several hours — and it 
must be moisture-resistant. You'll agree 
that Lady Esther has taken all these im- 
portant factors into consideration, once 
[Continued on page 65] 


It stays safe — it stays soft— the new 

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Movie Classic for April, 1936 



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Myrna Loy Gives Hints 
to Wives 

[Continued from page 38] 

clothes-horse with a knack for husband- 
snatching and a genius for double-cross- 
ing. In most instances, if she would 
take her courage in her own two hands 
and 'run in' at the office, casually, 'some 
day she might discover this 'unseen 
menace' to be a poor, emaciated little 
office mouse with an ability to do more 
actual work, each day, than a truck 
driver — a girl who lives in constant 
dread of receiving from that tyrant, her 
employer, a pink slip that has nothing 
whatever to do with lingerie ! 

"Of course, on the other hand," she 
admitted, "she may be an extremely at- 
tractive young woman with a lovely head 
firmly set on capable shoulders and -an 
ability to wear smart, inexpensive clothes 
as though they were designed by Adrian. 
But that's the exception, and, in my 
opinion, the very time for wifie to do 
her stuff ! More often than not, a girl 
who is that smart on the salary she's 
paid is also smart enough to realize that 
there isn't much of a future in being a 
married boss's girl-friend. Probably she 
respects her employer — -it's conceivable 
that she may even like him — but the 
chances are fairly certain that she has a 
perfectly good sweetheart of her own 
and cherishes the fond hope that she'll be 
a wife someday herself ! 

"It's my humble opinion that a wife's 
hours are from five in the evening until 
nine in the morning, and what a man 
does the rest of the time serves to pay 
the monthly bills and provides for a new 
car every couple of years — and that's 
enough to keep him plenty busy !' 

"Take Leila," she suggested. "Leila 
San ford — the woman I play, and one 
who was sane enough about her hus- 
band's business and Whitey W.ilson, his 
secretary, until 'people began to talk.' 
Then she forgot to remember that she 
and Van were happily married for years 
and noticed only Whitey 's beauty. Of 
course, as such things do, that only 
started complications. It's really a beau- 
tiful demonstration of 'suggestion' and 
proves that, to a wife, faith — real faith — 
is the most important thing of all ! 

"Naturally, there's no use denying that 
close association — the fact that a man 
and his secretary are thrown together so 
constantly — might open dangerous ave- 
nues for those mentally or physically at- 
tractive to each other." She dabbed her 
powder-puff against her pert chin. 

"As I figure it out," she continued, 
"you simply have to trust your husband. 
If lie's a doctor, you have to trust him 
with his. nurse ; if he^s an artist, with his 
model; if he's an actor, with his leading 
lady.. Yet," she reminded, "there's as 
much to be said for constant association 
robbing a man and a woman of their 
illusions, destroying the novelty and 
glamor that accompany the making "of 
dates, the planning of hours together." 

"All of which- means," I suggested, 
"that when a man 'phones home that 


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he'll be late for dinner, the reason might 
not necessarily be a blonde or a 
brunette ?" 

"Decidedly !" Myrna said. "It's good 
business for a wife to remember, at such 
a time, that it just may be business !" 

REALLY, Myrna," I asked, "is this 
a gag or do you really think that 
wives have something important to 

"I think," she answered, weighing 
each word carefully, "that a vast amount 
of loose talk about office romances has 
naturally made wives jittery; and when 
a wife is jittery, she simply can't do her 
best thinking. She is on the defensive — 
which is enough to make even a wife in 
good standing something less poised than 
her own husband's secretary ! I think if 
wives took tips from these women whom 
they secretly fear, they would out-smart 
and out-think them every time ! 

"But when misunderstandings arise, it 
isn't all the wife's fault, you know," 
Myrna continued. "When a woman is 
tied to a household and a couple of chil- 
dren day in and day out she's naturally 
touchy about the redness of her hands 
and the tired lines about her eyes. She 
knows that nights up with Junior's croup 
and others spent lengthening Marilyn's 
ever-shortening dresses don't make for 
a snappy appearance or for scintillating 
conversation. Husbands are probably 
the last ones to realize their wives' most 
acidulous remarks spring from the inner 
knowledge that they're not 'up to snuff.' 
And the girl who has been a highly-paid 
secretary herself, once, with most of her 
salary to spend on herself, is the very 
one who, at times, finds it most difficult 
to be reconciled to her new situation. 
However, such moods don't last. Ask 
any such ex-secretary and she'll tell you, 
her face aglow, that a new dress or hat, 
the time to read a good book or an after- 
noon of bridge could never compensate 
for those tots who make sooty smudges 
on the walls 

"Nor, when you think of it, is the lot 
of a society wife so terrible. While she's 
attending a matinee, concert, lecture or 
a tea, little Miss Tingaud is throwing 
her pothooks together with gay abandon 
and punching the keys of her typewriter 
with all the grace she can muster. In 
nine cases out of ten, the lot of a man's 
'office wife' isn't nearly so satisfactory 
as his real wife believes." 

"What," I asked, "should a wife do 
to make her husband — and herself — 
happy ?" 

"That's a large order," answered 
Myrna, with a smile, "when I have to 
be on the set in five minutes. But it 
seems to me that a wife should realize 
that a secretary has a place in a man's 
life that doesn't interfere with her own 
role at all. The more efficient his secre- 
tary is, the better-humored a man is apt 
to be, and that, eventually, will make for 
a happier home and a pleasanter relation- 
ship between husband and wife. 

"As a matter of fact, I really don't 
think a woman should take the stand of 
'Wife versus Secretary.' I think — well, 
I think they should incorporate !" 



T T the ' e c'rea a Pulldown your vest, 

Be calm . . collected . y restj 

Let the yellow packag , «* nerv 
It costs you no more to enjoy me 




r -pjUJjT, 

Movie Classic for April, 1936 






Don't Suffer From 

It's an old-fashioned girl who still suffers 
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comfortable. This is the way: 

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Must you favor yourself, and save 
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Midol might give you back those days 
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[can Harlow Has Secrets 
for Secretaries 

[Continued from page 39] 


man's whims all the live-long day and 
then turn him loose on a suburban train 
to go home to the little wife?" 

"Lawsie me, missie," Jean laughed. 
"but that's a lot of asking! Yet, truth 
to tell, since we've begun work in the 
picture I've been thinking that there are 
forty-eight states full of Whiteys who 
lean rather too heavily to the left or the 
right. On the one hand, there are those 
ijirls who secretly yearn for their hand- 
some, but much-married employers . . . 
and others who, possibly because of in- 
experience, believe the 'sales arguments' 
that these men reel off during odd mo- 
ments — 'dictated but not read!' 

"I'm really no good at giving advice — 
and I don't think most people are any 
better at taking it — but it should be 
pretty easy for a girl to realize that the 
man who detains her after hours to ex- 
plain how misunderstood he is at home 
does a good job of making himself per- 
fectly clear to her. Right at that mo- 
ment she should run, not walk, to the 
nearest exit ! 

"Of course I don't mean," Jean cau- 
tioned, "that she has to be a little fool 
about it. There's no harm in a man 
trying — but the girl who expects the 
same respect as a man's wife should act 
as though she deserves it ! 

"People talk about wives being jealous. 
Well, I've heard of jealous secretaries, 
too. There are plenty of girls who de- 
lude themselves into believing that their 
interest in their jobs is purely 'business,' 
but who, if they ever stopped to be hon- 
est with themselves., would be forced to 
admit that at least half of that 'interest' 
is bound up in the personality of the 
men for whom they work. 

"I'm reasonably certain that a fair 
percentage of business women never 
marry because of the extravagant ideas 
that girls build up about their employers 
until all other men fall short by com- 
parison. These 'office widows' are really 
doing themselves permanent injury — 
ruining their chances for personal happi- 
ness with some man who, it is true, may 
not be a dynamic executive, but who 
would make a perfectly satisfactory hus- 
band and a good provider. 

"It's almost as hard for an attractive 
secretary to get and keep a job as it i^ 
for Gussie Noclass — have you ever 
thought of that?" Jean asked. 

I really hadn't. 

"Of course it is!" she explained. 
"Gussie, it is true, may make her heart- 
breaking rounds to get a job, but by 
diligence and initiative she's bound to 
'land' some day. And she'll stay there. 

"But," Jean pointed out, "what about 
your soignee sec who gets the job — ■ 
until Madame drops in on a shopping ex- 
pedition? What, do you think, are her 
chances for keeping it?" 

"Not too good." 

"Right ! Immediately the wife thinks, 
'Why did Throckmorton engage "that 
girl" in the first place?' Serenely, the 

Movie Classic for April, 1936 

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girl's possible ability is discounted. 
'Pretty nice clothes for a secretary, but 
rather upsetting for the Office Morale, 
don't you think?' In the best interests 
of keeping mass blood pressure at nor- 
mal, the matter is brought up, the motion 
made, seconded and passed. Miss Patricia 
Pitman is again making the rounds of 
the 'placement bureaus' " 

An accurate picture Jean draws, don't 
you think? 

"And while we're on the subject." 
lean offered. "I believe a successful 
secretary has to be a one-woman brain 
trust, an ambassador-of-good-will and a 
fortune-teller all at once. Coupled with 
that, she must remember, always, that to 
her boss's wife she is a suspect — and that 
treason will head her straight for the 
firing line ! 

"As an 'ideal' husband exists only in 
the imagination of the woman who never 
had one — and an 'ideal' woman is the one 
to whom a man is not married — there is 
always the possibility of building a fic- 
titious romance. Yet for people to find 
themselves sweethearts before they 
know whether they can be friends is be- 
ginning at the wrong end — and most 
office affairs end with that realization. 
Just as no secretary can allow her em- 
ployer's wife to interfere with her work, 
she should never delude herself into al- 
lowing her 'work' to interfere with her 
employer's wife. 


,F COURSE, if wives stopped to 
think how grueling a secretary's 
tasks are and how busy she is 
kept, they'd take a more rational view- 
point of the whole thing. When you 
have to meet a man's visitors, answer his 
telephone calls, take his dictation, write 
his letters, file his mail and attend to 
general office routine, there's not much 
time left for romancing ! 

"How have you discovered all of this. 
Jean?" I asked. "One would think you'd 
grown up in an office !" 

"What difference does it make?" she 
replied. "Life is all pretty much the 
same. An actress must be interested in 
people, in how they feel. I get many 
letters from girls telling me their 
troubles and asking for advice and, while 
I don't have the time to write them at 
length, individually, I feel when I play a 
role such as IVhitey Wilson I'm able to 
answer them indirectly by living the 
part as such a girl would live it !" 

Jean means that. She's not a crusader, 
but she has the biggest heart in Holly- 
wood and plenty of good, practical sense. 

"Do you think, Jean, that a woman 
can be happy though a secretary," I 
asked, "even if her boss is married?" 

"I can't see why she shouldn't." Jean 
replied instantly. "After all. she's in 
business to make a living — not to engage 
in personalities. Sometimes, of course. 
things happen without any desire or 
effort on our part. When such a situa- 
tion arises, a secretary is merely a be- 
wildered woman caught in a strange, sad 
experience and her employer only a man 
who is faced with a problem that holds 
tragi-dramatic possibilities. As a man 
and a woman, then, they must face the 
situation and work it out for the good of 
all those who are involved." 


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Movie Classic for April, 1936 


-don't try 

to get well 
in a day... " 



no appetite? 
losing weight? 


— there is usually a definite reason 
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Dox't try to get well in a day . . . this is 
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Makes you 
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S-t-r-e-t-c-h Your Way 
to Beauty 

[Continued from page 37] 

Exercise 6: Spread feet far apart. 
Clasp hands behind you and inhale. 
Contract all muscles and then stretch 
backward as far as you can. Hold 
this position until you feel that every 
muscle in your body is as stretched as 
a rubber band. Return to upright po- 
sition. Repeat exercise ten times. 

This exercise gets at the shoulder 
weight, which is the bane of every 
woman's existence. It also does things 
for the abdomen and upper arms. 

Exercise 7: Stand in upright posi- 
tion, legs far apart. Clasp arms over 
head as near to the elbows as pos- 
sible. Then bend from right to left 
without moving the feet from the 
floor or bending the knees. If pos- 
sible, inhale and hold the breath until 
you have done the exercise ten times. 

This exercise uses every muscle in 
the body and will particularly aid you 
in achieving the slim, curving O'Sulli- 
van line from shoulder to toe. 

Exercise 8: This may be called the 
lunging exercise. You stretch your 
left leg straight back of you, step for- 
ward with your right, balance on your 
right toe with the legs as far apart as 
you can manage. Your left arm is 
on your hip. Your right arm is 
straight up. And as you hold that 
position, stretch up and backwards. 
Alternate with right leg and left arm, 
repeating ten times. 

This exercise develops the chest 
muscles, raises the bust-line into 
youthful contours, and helps to lift 
the chin and slenderize the neck. 

Exercise 9: Place your right leg 
forward. Stretch your left as far 
back as possible. Both your legs must 
be tense, your feet flat on the floor, 
knees stiff. Then touch the finger- 
tips of your left hand to your right 
toe. Exhale as you go down. In- 
hale as you resume upright position. 
Repeat ten times. Alternate legs and 
arms and repeat. 

This exercise is effective in produc- 
ing those nice plane lines which will 
help you avoid embarrassing mo- 
ments in your modern bathing suits. 

Exercise 10: This exercise is sim- 
plicity itself. It merely involves 
standing on your toes, stretching your 
arms above your head. And I really 
mean stretch ! Pretend that you're 
reaching for something, at least six 
feet above your head. Inhale as you 
stretch. The arms are held firmly at 
the side of the head and the hands are 
interlocked. Then, still on your toes, 
run across the room from wall to wall. 
Then run backwards. Remember, 
now, that the knees are stiff and the 
body is contracted. 

This is a perfect exercise for those 
with ungainly ankles, with cushion 
knees and large leg lumps. 

[Continued on page 71] 

Movie Classic for April, 1936 





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Leap Year Beauty Secrets 

[Continued from page 59] 

you have tried her face powder. She is 
presenting a new package in silvertone and 
light blue — an attractive item on any girl's 
dressing table. There are five flattering 
shades and the price is only 55c for the 
large bcx you see illustrated on page 59. 

Blushing is not the only thing that will 
win your man this year. Picture yourself 
as having thrilled a man to the degree that 
he impulsively grasps your hand across a 
table? Will he be touching "sharkskin,*' or 
a smooth, white, adorable hand? 

Frostilla Lotion will keep your hands as 
you know he would like to have them. It 
is excellent for relieving redness, chapping, 
roughness and dryness. Use it before ven- 
turing outdoors where your hands will be 
exposed to sun or wind, and particularly 
after you have had them in water. Don"t 
forget your arms and elbows either — so 
you won't be embarrassed when you don 
your prettiest sleeveless party dress. The 
bottle you see pictured on page 59 is only 

There's romance in the hair, too. How- 
ever, dancing "cheek to cheek" certainly 
isn't very romantic for your partner if he 
comes in contact with dull, lifeless hair, or 
hair that is not clean. But how romantic 
that tune is if his cheek touches hair that 
is soft, fragrant and gleaming with high- 
lights. Don't forget that a man is always 
susceptible to the lure of lovely hair. Here 
I am going to suggest that you jot down on 
your next shopping list that popular hair 
beautifier — Fitch's Shampoo — which is the 
fourth beauty aid you see on page 59. 

Fitch's Dandruff Remover Shampoo dis- 
solves and removes every particle of loose 
or encrusted dandruff and other foreign 
matter instantly. It cleans and refreshes 
your scalp and makes your hair healthy, 
lustrous and beautiful. The bottle illustrated 
is priced at 75c. There is also an economical 
family size at $1.50. 

When you use Fitch's Shampoo do not 
zvet your hair first. Apply enough shampoo 
to your scalp to moisten your hair thor- 
oughly. Massage briskly with your fingers 
until the first lather disappears and your 
hair becomes sticky. Then apply a small 
amount of water and rub into a rich lather. 
Add more water gradually, at the same time 
rubbing and removing lather by handfuls 
until all lather is gone. Then rinse your 
hair thoroughly with a stream of warm 
water until your hair "squeaks" when you 
pull it through your fingers. Wrap your 
head in a hot towel, rub vigorously, and 
dry your hair in the sun if possible. 

A scalp that is not kept clean is not only 
injurious to your hair — and unattractive — 
but eventually it will tell in your com- 
plexion. The source of a blemished skin is 
frequently traced back to an unhealthy 
scalp. So, if you wish to be as lovely as 
your favorite stars, make your shampoo 
one of your weekly habits ! Remember that 
silky, lustrous hair has earned many a 
woman a reputation for loveliness. 

"What are your own personal beauty 
problems? Tell them to Alison Al- 
den! She will help you with them — 
free! Just write to her c/o MOVIE 
CLASSIC, 7046 Hollywood Boule- 
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for her reply. 




60$ size It^lialvBaliTV 

• In response to nation-wide demand, 
Campana now offers, through Drug and 
Department stores, its famous HOME DIS- 
PENSER plus a 60c bottle of Italian Balm 
— in a bargain package at 59c. But the supply 
is limited. So purchase your bargain pack- 
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The idea of dispensing band lotion orig- 
inated with Campana. Over 2% million 
Italian Balm Dispensers, like the one illus- 
trated in this advertisement — full nickel 

plated and 100 </c guaranteed — have been 
delivered to Italian Balm users in the 
United States and Canada. 

And no wonder it is so popular! It holds 
the bottle for you — no un-capping or re- 
capping, no risk of bottle breakage. Each 
simple, quick press on the plunger gives you 
one drop of ItaUan Balm at a time — thus 
making "America's Most Economical Skin 
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venient to use. 

Western Union Installs It! 

• Campana has arranged for Western Union 
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are available) to install your Dispenser any- 
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laundry, on wood or tile. Ilou buy your 
Dispenser Package at any drug or depart- 

ment store and then — (1) Call Western 
Union; (2) Ask to have your Dispenser 
installed; (3) Pay the messenger 10c for 
this service. (Campana pays the balance.) 
This special service good only while Deal- 
ers have these special 59c Packages. 


Movie Classic for April, 1936 








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Is Shirley Growing Up 
Too Fast? 

[Continued from page 31] 

truant officer, who would really like to 
take Shirley away from the Captain. 
Shirley, wearing a middy blouse and a 
pair of jeans, is sitting in his lap. Their 
tete-a-tete is something like this: 

The Captain: Let's see. Here's a 
purty important question : Name six 
animals that live in very cold countries. 

Shirley (thinking hard) : Well, 
Cap'n, I don't know if I can. . . . Oh, 
sure I can ! 

The Captain (benevolently) : Yes? 

Shirley (triumphantly) : Three bears 
and three seals ! 

HpHEY had to shoot that scene only 
*- once, Director David Butler being 
satisfied — nay, gratified— with the first 
performance of the two stars. Shirley 
was then released for a play period. 
She came running over to her mother. 

"Mommy, may I have a bottle of 
Coca-Cola ?" 

Mrs. Temple considered. "Well, I 
guess you may. But first say how-do- 
you-do to this little girl who has come 
to Hollywood all the way from Massa- 
chusetts — " She indicated Donna, who 
was positively wriggling with delight. 

Shirley walked over to Donna and 
stood before her. "Hello," she said. 
"Will your Mamma let you drink Coca- 
Cola, too?" 

Assured that this was the case, Mrs. 
Temple ordered the Coca-Cola, while I 
undertook to congratulate Shirley on 
the scene just finished. 

Politely, she said, "Thank you." 
Then she launched into explanation. 
"That about the three seals and the 
three bears was just what I have to 
say in the picture," she confided. "I 
really know another kind of animal that 
lives where it's cold . . . Eskimos !" 

While everyone else laughed. Mrs. 
Temple explained to Shirley about Eski- 
mos. She always explains anything' that 
Shirley doesn't understand. 

By this time, the Coca-Cola had ar- 
rived — a bottle for Shirley and a bottle 
for Donna. 

"I'm allowed to drink just down to 
there," she remarked to Donna, indicat- 
ing a row of lettering about half-way 
down the bottle. "Sometimes I slip." 

Mrs. Temple looked at her meaningly. 
"But not often," she suggested. 

" — but not often," added Shirley. 

' j TIE afternoon's "refreshments" dis- 
•*■ posed of down to the proper row of 
lettering, Shirley gave her attention to 
another project. 

"I like to draw," she remarked to 
Donna. "Do you ?" When Donna, 
finding her tongue at last, said that she, 
too, liked to draw, Shirley rushed off 
to her playhouse on the set and returned 
with two drawing books and crayons. 

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The conversation during this artistic 
session ran something- like this: 

Shirley : Guinea hens are kind of 
hard to draw, aren't they? 

Donna : Well, I never saw any 
guinea hens. 

Shirley : They look something like 
chickens, only they make an awful 

Donna: What kind of a noise? 

Shirley: They crow like a rooster 
only louder, sort of. I had mine at our 
house in Santa Monica, but they crowed 
in the morning and waked Mommy up 
and of course I couldn't have that be- 
cause Mommy needs her sleep. 

Donna: W'hat'd you do with 'em? 

Shirley: I brought them to the stu- 
dio. Of course, I could have slipped 
out every morning when they began to 
crow and fed them something and then 
they wouldn't-a crowed anymore, but 
Mommy said I better not. 

TOURING the latter part of the after- 
*^* noon, Lillian Barkley came onto the 
set. Shirley's greeting was tempestu- 
ous. After bestowing upon her a huge 
hug, she brought her over to Donna. 

"This is my teacher," she said. "She 
stayed with me on New Year's day, 
too. It was Mommy's and Daddy's 
an — anniversary — " She brought the 
word out, proudly. "That means the 
day they got married. ... It was be- 
fore I was born," she confided. 

Later, dismissed for the day, Shirley 
shook hands with all of us. When she 
came to Donna, she said : 

"You may have my drawing book and 
then maybe you can learn to draw 
guinea hens, too." 

As her mother led her away — a small, 
curley-headed individual in middy blouse 
and jeans, trotting along with a box of 
crayons clutched firmly in one hand, I 
turned to Lillian Barkley and said, "I 
was asked today if Shirley is growing 
up too fast." 

Something like indignation clouded 
Lillian Barkley's fine dark eyes, yet she 
answered me quietly enough : "I know. 
I've been asked that, too. . . . 

"No," she said, quietly, "little Shirley 
is not growing sophisticated or too wise 
for her years. She is the same lovable, 
unaffected, happy little girl she always 
was. And I can tell you why. ... It 
is because Hollywood, instead of ex- 
posing her to conditions that would 
make her so, is protecting her ! 

"She is cared for, cherished, shielded 
from every influence that might hinder 
or harm her natural development No 
one tells her that she is famous. The 
consideration that she receives at the 
studio is that of friends for a friendly 
little girl. The attention from crowds 
who gather wherever she appears in 
public, she accepts as a matter of course. 
She lives in a small, fascinating world 
of her own, in which the things about 
her — birds, animals, flowers, people — are 
more important than herself. 

"And," Lillian Barkley concluded, 
"so long as Shirley is not even conscious 
of herself, she cannot be conceited or 
'grown up,' now can she ?" 


m Pf^^ 






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Movie Classic for April, 1936 67 



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What Love Has Done 
to Ginger Rogers 

\_Contiiutcd from page 32] 

world on fire. So I gave it up. It's 
different today. I paint occasionally 
now, and enjoy it immensely. I play 
the piano, too — but with an entirely dif- 
ferent attitude from the one I once 
had. . . ." 

J" ET'S go back to the time when Gin- 
-*— ' ger was "running around in cir- 
cles," and see what helped to straighten 
her out. Right in the middle of her 
painting spell, she met Lew Ayres. At 
that time Lew, too, had a reputation for 
being moody and erratic — for being 
more interested in "the arts and sci- 
ences" than in acting. When Holly- 
wood heard that Lew had gone in for 
astronomy, for example, and had even 
written an article for an astronomical 
magazine, Hollywood disparagingly 
asked : Why didn't he settle down and 
pay attention to his screen career? 

Perhaps Ginger felt the same way 
about Lew, when she first met him. 

But then something happened to 
make her see differently. Lew received 
a letter from the great Einstein, highly 
complimenting him on his article. 
Lew Ayres must have been proud of 
that letter, but for a long time he told 
no one about it. Finally, he got around 
to showing the letter to Ginger. She 
couldn't understand why he hadn't 
shown it to the world ! 

Lew shrugged. What did it matter 
what people thought ? . He wasn't trying 
to impress anyone. He wasn't seeking 
praise. He was interested in astronomy 
only for the personal satisfaction it 
brought him . . . nothing more. 

At that moment, I think, Ginger fell 
in love with Lew. Suddenly, she 
saw him as he was — not moody and 
mercurial as he was supposed to be, 
but a man who lived honestly and who, 
as she says of him now, "is much more 
steady than any person I know." Not 
influenced by what people might say 
or think, never striving for effect, not 
sampling careers in order to succeed in 
the eyes of the world — but aiming first 
to succeed where he, himself, was con- 
cerned. And because she suddenly 
loved and admired this quality in him, 
she naturally tried to learn the secret, 
too, for herself. 

Until the time that she met Lew, she 
had been seeking expression in a dozen 
different mediums so restlessly that she 
had really never had any real pleasure 
out of any of them. A high-pitched 
ambition, hard work since she was 
eleven, the maddening fight to get to 
the top on the stage and in pictures — 
all these things had geared her to a 
fast, furious pace. And the very mo- 
mentum of that pace pushed her on, 
and wouldn't allow her to let down. 

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HpHEX she fell in love with a man 
-*■ who picked his way leisurely in the 
world — not in the least influenced by 
criticism or precedent. Ginger began to 
do the same. 

As Ginger explains it to me, "Walter 
Hagen, the golf champion, says that the 
secret of playing a good game of golf 
is to relax. I've found that it's the se- 
cret of happiness, too. You can't enjoy 
life if. you're always on the run. You 
have to sit back now and then and take 
a look at it, to appreciate it. Now I 
can sit back occasionally, and even do 
a little painting. Whether I have the 
divine spark or not doesn't matter any 
more. If I get a kick out of what I'm 
painting — that's what matters. It's the 
same with the piano. I'll never be a 
feminine Paderewski, but now I enjoy 
playing, anyway. 

"It's that way about many things. 
And I'm so happy about it. I'm glad I 
know that a house isn't just for enter- 
tainment . . . that it's more important 
as a home. Glad I realize that a few 
good friends are more important than 
a hundred half-way ones. Glad I know- 
that living simply is the best way to 
live. We never give big 'Hollywood 
parties' — -and seldom go to them. Our 
friends drop in informally, and we have 
much more fun that way. Lew and I 
spend a great deal of time together, 
too, just by ourselves. We spend eve- 
ning after evening at home, just work- 
ing and reading together." 

As for what Ginger said about their 
living simply . . . the}- really do. What 
do they do w 7 ith their money then ? 
"We're saving it," says Ginger, "in 
trust funds, sound investments and en- 
dowments. You see, we want to build 
our own home some day, but we're not 
going to build one until we can be sure 
just what sort of establishment we can 
afford to keep up." 

Neither of them ever intrudes on 
the other's career. Lew never vis- 
its Ginger on her set, and she never 
hangs around his. When Lew decided 
to give up acting and become a direc- 
tor, Ginger never questioned his deci- 
sion. If directing will give him greater 
satisfaction than acting, then naturally 
that is the thing he should do. Lew 
would feel the same way if Ginger gave 
up acting to become, say, a dress de- 
signer. They believe thoroughly that 
individuality is the secret of happiness. 

But Ginger won't turn dressmaker, 
never fear. She has lost all tendency 
to change horses in midstream. The 
strange thing is that the moment Ginger 
did relax, and stop worrying about her 
career, that career took a tremendous 
turn for the better. Teamed with Fred 
Astaire, she has made some of the finest 
musicals ever produced, and, on top of 
that RKO has made her a star. 

They say the camera catches every- 
thing . . . not only lines and expres- 
sions, but thoughts and even the inner 
personality. Ginger is poised and 
charming and beautiful and polished on 
the screen these days — because of what 
love has done to her and for her ! 



> M 

T>aula Stone, one of the famous 
-"- "Stepping Stones" who made 
stage history, invitesyou to a cock- 
tail party at her home in Holly- 
wood ! You'll meet all her friends, 
among whom are the most noted 
stars in Hollywood. Fred Stone, 
her father, will act as host, and 
her two sisters,Dorothy and Carol, 
will help entertain you. 

Doesn't it sound thrilling! And 
it's just a sample of the wonderful 
entertainment Fawcett Movie Magazines have 
arranged for those who join the second Annual 
Movieland Tour. To giveyouan idea — here's a day's 
schedule: Start with a trip through 20th Century- 
Fox studios, where you'll see pictures being made, 
meet the stars working on the sets. You'll meet 
Shirley Temple in person, talk with Janet Gay nor, 
Warner Baxter will come up to say hello. In the 
afternoon, a tour through Beverly Hills, seeing the 
homes of the stars. That night, a big party at the 
Blossom Room of Hollywood's Roosevelt,at which 
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highlights of the four days in Hollywood . . . bath- 
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Movie Classic for April, 1936 




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Why Pick on Us? 

[Continued from page 35] 

as you laughingly call it. I'm little 
different from, say, a small-town lawyer. 
As a matter of fact, there are times when 
I wish I were different," he said with a 
grin, "but those times are darned sel- 
dom. I can be attracted by a beautiful 
girl, yes — but just because I'm an actor, 
I don't go loco. Sure, love is important ! 
It's what makes the world — and pic- 
tures — go 'round. 

"T'M very fond of Joan Blondell and 
*■ I don't care who knows it. I've 
known her for years and I hope she 
likes me and I hope I'll know her for 
years to come. She's a grand girl. But 
just because we go out together and en- 
joy each other's company is, in my 
opinion, no reason why the match- 
makers among the gossip columnists 
should none too gently try to nudge us 
into marriage. Moreover, it's not exact- 
ly in the best possible taste when you 
come right down to it. After all, Joan 
and George Barnes didn't hit it off — 
which also happens to your small town 
lawyer — so they split. The divorce 
won't be final until the middle of this 
coming summer. I think, therefore, 
that it's really a bit premature to go 
forecasting marriage before the ink is 
dry on the decree. 

"Mind you, I'm not saying that we 
won't get married someday, because I 
don't know. We might. On the other 
hand, I'm most certainly not saying that 
we will — because I don't know. And, 
I may be a bit old-fashioned in my ideas, 
but it seems to me that for any man to 
announce that he's going to marry so- 
and-so is on the presumptuous side. It 
seems to me that that is the girl's pre- 
rogative — not mine and certainly not 
that of a sob-sister who knows neither 
of us, but needs a leading story for the 
column so carefully foregoes the for- 
mality of asking us. 

SUPPOSE I am in love with a girl. 
Suppose she is in the same business 
— and that we have interests in common 
and all that sort of thing. Suppose, 
further, that I intend to ask her to be 
my wife and plan a little spree at the 
Grove, plan to ask her at the right mo- 
ment. And then suppose that when I 
pick up the papers the morning before 
the party I read a story like your Num- 
ber 3-A, mentioning the girl and my- 
self. Where do I get off ? What kind 
of position does that put me in? No 
girl with any self-respect wants to be 
proposed to in a gossip column." Sud- 
denly dropping his serious attitude, he 
grinned again and added, "And I'm 
darned if I want any reporter on earth 
to have the fun of proposing for me. 
I'm no Miles Standish. 

"I'm a guy who works for a living, 
has a whale of a good time doing it and 
when the right girl says, 'yes', I'll sure 
help her tell the world. I'll be one 
proud hombre, but, in the meantime, 
I'm just Dick Powell, bachelor. . . 

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S-t-r-e-t-c-h Your Way 
to Beauty 

[Continued from page 64] 

A/JAUREEN takes her exercises 
*■*■*■ about thirty minutes before 
breakfast, and has a quick body mas- 
sage afterward. Here's the way to 
do it : Rub a good body oil on your 
skin until you are completely satur- 
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for about fifteen minutes. At the 
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body brush, using a long-handled one 
so that it will reach and exercise 
every part of your skin. 

After you have rubbed the oil on, 
let it soak in, and scrubbed yourself 
with the brush, jump under a cold 
shower. You might not like that cold 
water at first, but you will get used to 
it and will be fully compensated by 
that feeling of tingly aliveness clear 
down to your toes. Remember that heat 
enervates and cold stimulates. So use 
your heads and your cold showers, ladies. 

Now here are some rules that Mau- 
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overdo. If you feel tired, reduce the 
length of the routine until you're 
worked up to it. DON'T try to take 
off more than three pounds a week. 
DON'T diet with this routine. DO 
reduce 3 r our sugar and starch intake. 

At the end of a month you'll find 
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Knitting Contest Editor, 

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City...— rr..-. State.—. 

L . 

(See pages 50 and 58) 

You'll thrill to her 
story — the story of 
this nurse who 
fought a thousand 
temptations, a thou- 
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herself, as she 
fought for the lives 
of her patients. Dar- 
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temptation she 
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her love for the doc- 
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long stretches of the 
night — -a man who 
belonged to a n- 
other. Read it in the 


of a 


- Nurse 

In this same issue read: 


Why Etta Reisman shot her husband's 
pretty secretary. 


A poignant confession of a boy's first 

overpowering temptation. 


Revealing the heart of a love-mad girl. 


What happens when young married peo- 
ple play around? 



Movie Classic for April, 1936 









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Trv a Movie Test 


in Your Own Home! 

[Continued from page 47] 

enced eye is seeking out your good points 
and your bad. He is appraising your ap- 
pearance, voice, mannerisms — and, most 
of all seeking the answer to this question : 
Has this person INDIVIDUALITY? 

"What do you mean by 'individual- 
ity?'" I interrupted Mr. Serlin. 

"We don't want carbon copies," he 
said bluntly. "We are not looking for 
another Dietrich, another Colbert, or 
another Harlow. We want wholesome, 
fresh, ambitious people with personal- 
ities all their own. Not only person- 
ality goes into that word 'individuality,' 
but there must be a human, attractive 
warmth that draws people." 

Suppose you satisfy this first inter- 
viewer that somewhere, deep down in- 
side perhaps, is a spark that may be de- 
veloped. What then ? 

He will ask for details of your past. 
Probably from the first five minutes he 
has had with you he will know if you 
have had stage experience. Such ex- 
perience brands an individual and glad- 
dens the eye of the talent scout when 
he finds an applicant who has had it. 
He will want to know what roles you 
have played, what schools you have at- 
tended, and he will be pleased if you 
are a college graduate. 

"Come back tomorrow," he says fin- 
ally. "I want you to meet Mr. Serlin." 
... So you come back, and unless Mr. 
Serlin finds some serious defect, over- 
looked by Mr. Kaplan, you are intro- 
duced to the assistant dramatic coach. 
... A screen test now ? Heavens, not 
yet, unless you are a finished dramatic 
actor or actress. Instead, there are 
hour-long lessons in dramatics, in how 
to talk, in how to deliver lines and get 
expression into your voice — hard work 
to banish defects in voice and posture. 

"What would you advise a girl con- 
templating a try at the movie to do?" 

"Work," was Serlin's answer. "I'd 
tell her: Get a college education if 
possible, and do plenty of dramatic work 
while in school. Get some actual stock 
or trouping experience, if the stage still 
interests you after graduation. Then, 
after a period of experience, stop and 
check up on yourself. Measure your per- 
sonality, your voice, your natural flair 
for dramatics. Place a valuation on 
your talents, your ability. If you find 
the valuation high, then see me, or a 
talent scout for another company." 

All right, your fate is in your hands. 
Turn to page 73 for test questions, 
then chart your score on the Talent 
Thermometer. If you get a high score 
you will deserve it. And — who knows ? 
— this screen test may be the instrument 
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star, someone who had never given 
movie-acting serious consideration. On 
the other hand, it may be helpful in dis- 
couraging others who might waste time 
in an effort to break into a profession 
for which they are not equipped. 

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Add Up Your Chances 
for Stardom! 

After you have read the article op- 
posite, you can take this screen test in 
your own home. It is not hard ; in fact it 
is fun — but be sure you have read the 
article first. This test, prepared by Oscar 
Serlin of Paramount, is as important as 
you make it. 

Are your face and figure more beautiful 
than average? Less beautiful than aver- 
age? Average? Score 10 points for an 
exceptional face and figure, 5 points for 
average, etc. (Score ) 

2. DICTION — Is your speaking 
voice pleasant? Does it have carrying 
power and range of expression? is it 
free from defects and impediments? 
Score 5 points for perfect voice and dic- 
tion, 3 points for average. (Score ) 

you emotional ? Do you feel defeats and 
victories strongly? Are you capable of 
transferring your feelings to others? 
Have you a good sense of humor? 
Can you tell a funny story with effect ? 
Score 5 points for perfect. (Score ) 

Have you had stage work in school ? In 
little theatres? In stock? Score 10 points 
if you have had some experience, 15 if 
you have had a year or more professional 
work. (Score ) 

5. AGE— Are you under 25? If 25 or 
under, score 5. If over 25, score 1. 
(Score ) 

your singing voice pleasant? Do others 
like to hear you sing ? Do you dance well, 
with a natural sense of rhythm? Score 5 
points for exceptional in singing and 
dancing, 3 for average. (Score ) 

7. AMBITION— Are you thorough- 
ly sold on yourself and your ability? 
Would you take every manner of rebuff 
and come up fighting for a chance to get 
into motion pictures? If you feel sure 
of yourself, and that nothing could 
dampen your enthusiasm, once you had 
a chance, score 15 for perfect. 7 is aver- 
age. 10 is above average. (Score ■ ) 

MENTS — Are you a modern girl? Can 
you ride, swim, play tennis, golf, drive 
a car, or hold your own in several of 
the games and strenuous amusements 
that attract the modern girl ? Score 5 for 
perfect. (Score ) 

9. HEALTH— Is your health such 
that it does not interfere with your nor- 
mal activities? Score 10 points for per- 
fect. (Score ) 

10. INDIVIDUALITY— Does your 
appearance, talent, or natural inclination 
make you stand out as superior to a 
group of your friends? Do others seek 
out your companionship, ask your ad- 
vice? Do you mix well with others and 
make lasting friendships easily? Score 
25 for perfect. (Score ) 

It was fun, wasn't it ? Let's hope you 
have been honest and made no mistakes. 
Better check over the scores again. 

Now you have the grand total. Find 
your place on the Talent Thermometer 
on page 47. If it is high, you owe your- 
self a chance at a career before cameras. 

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Nearly everything worn or used must 
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Age Occupation. 


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"Me? I'm Lucky!" 
— Bing Crosby 

[Continued from page 6] 

finally, carried him along to screen star- 

"1 was in New York, doing' very well 
on radio, when Paramount offered me a 
screen contract," he says. "I had no 
intention of remaining on the screen for 
more than the one part in that first pic- 
ture. I had never given motion pictures 
a serious thought and I can't say that I 
did any serious thinking then. The con- 
tract offered an attractive salary — and 
a trip to Hollywood and a month or two 
in a studio offered a pleasant change 
from the monotony of the work I had 
been doing. I didn't have any great, 
burning ambition to be an actor . . . 
but, what the devil, it was a change and 
so I just drifted out here. 

"I still haven't any sharply defined 
plans for my future or for my 'career.' 
I'm having a swell time and I'm perfect- 
ly satisfied just to move along from one 
picture to another. As long as the pub- 
lic wants to see me on the screen, I'm 
perfectly satisfied to stay there ; when- 
ever the public tires of me — and the pub- 
lic will one of these days soon — why, it 
will be okay with me. 

"What will I do after I'm through in 
pictures ? I don't know. I can cross 
that bridge when I get to it. I've saved 
a little money and I've got my horses 
and a ranch. But why worry about the 
future ? The future will take care of 
itself — and Lady Luck will take care of 
my decisions." 

TUST where, in this easygoing philos- 
* J ophy of Bing Crosby, is there so fine 
an example for the ambitious beginners 
who have set their hearts on fame and 
fortune in the show world? 

In this — by never crossing a bridge 
until the crossing is necessary, Bing has 
never forced his career. The breaks 
come, in due time, to everyone. But 
most of us, driven too hard by our am- 
bition, impatiently try to manufacture 
our breaks, seize upon them too soon 
and, consequently, fail to capitalize upon 
our chances. Bing, on the other hand, 
calm, unruffled, unworried, takes the of- 
ferings of Lady Luck in their natural 
sequence and at their proper times. 
Every break has found him ready to 
turn it into a triumph. 

He will talk about his golf and tell you 
the importance of never "tightening 
up." Bing dodges tension. 

And here is another point just as im- 
portant : The business of selling enter- 
tainment depends at least as much on 
personality as it does on technical abil- 
ity. Bing, despite the demands of radio 
and screen, still takes his career and 
work with such nonchalance that he 
can spare time to be a human being, to 
develop as a personality. 

His is the kind of laziness that pays 


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Movie Classic for April, 1936 

Meet Ginger Rogers' Star 
Pupil — Harriet Milliard! 

[Continued from page 17] 

her as a singer and she became the 
featured soloist with his orchestra and 
a favorite radio entertainer. She also 
became Mrs. Ozzie Nelson — and in that 
fact lies the reason for her lukewarm 
interest in Hollywood's gold and glamor. 

HOLLYWOOD started flirting with 
her when she and Ozzie were the 
featured attractions in the Los Angeles 
Biltmore Bowl. With the musical 
"cycle" already in full swing, her un- 
usual combination of physical beauty, 
singing ability and dancing talent made 
her a "sure bet," and she was deluged 
with offers from a number of studios. 
But, at that time, she had just promised 
to marry Ozzie Nelson and she declined 
the offers. Probably she would have 
continued saying "no" but . . . 

"Ozzie was the one who wanted me to 
come to Hollywood and have my chance 
in pictures. He insisted that I must do so, 
for he was afraid that if I gave up a pos- 
sible career for marriage I might even- 
tually regret my decision. 

"You see, we're determined that our 
marriage will be a complete success. To 
me, its success is much more important 
than any professional triumph. The 
studio has renewed my contract, but 
I'm not at all sure that I want to con- 
tinue on the screen. I've been connected 
with 'show business' all my life and I 
have no illusions about fame or star- 
dom " 

Contrast Harriet Hilliard's attitude 
with that of the average inexperienced 
girl who would give ten years of her life 
for just such a chance on the screen. 
The difference, of course, lies in back- 
ground, in perspective. 

"I've known very few stars who suc- 
ceeded in reaching 'the top' without a 
terrific sacrifice in personal happiness," 
she maintains. "Every branch of the 
theatrical profession is so intensely com- 
petitive that success in it demands the 
complete subjugation of every other in- 
terest. I think that's why ninety-nine 
out of every hundred professional mar- 
riages are dismal failures. 

"I thought everything over for nearly 
two years before I consented to marry 
Ozzie, and I said 'yes' only after I was 
very sure that marriage would mean 
more to me than anything else in the 
world. Now, I don't want to jeopardize 
it. We want children — and I want to 
have them while we are still young 
enough to give them companionship. 
To wait for years, as I would have to 
do, if I were to really fight for screen 
success, would simply be to handicap 
our chance for happiness." 

Will she be able to resist the insistent 
offers of the studio ? That remains to be 
seen ! For Harriet Hilliard is one of the 
greatest finds in many years. And Mark 
Sandrich, the director of Follow the 
Fleet, insists that she is "star material." 





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■ Town 


Gary Cooper Wants Action! 

[Continued from page 42] 

long-legged stride that had me going at 
a short-legged gallop to keep up. 

"Listen, old kid," he smiled, "it you 
want to talk to me this afternoon, you'll 
have to keep coming faster than this." 

"Sure, I want to talk to you," I com- 
plained, "but I thought you were going 
to your dressing-room to rest \" 

"Rest? Who wants to rest! Didn't 
you hear what that guy said ? I'm going 
to race tomorrow ! C'mon, let's get 
going ! I want you to see that car ..." 

That was the longest speech I had 
heard him make in months. Action, not 
chatter, is Gary's long suit. Speed, 
violent movement, dash, daring — thrills 
to be enjoyed in a strange, grinning, but 
ebullient silence — these are the things 
that put him in his element. He was 
through with work on a studio set for 
a while. He was happy again — for to- 
morrow would find him alone behind 
the wheel, driving the fleet power plant 
at a furious pace, the song of speed 
sweet in his ears and the reverberating- 
hum of the motor throbbing against 
sheer canyon walls. 

TN HIS own words, "Hollywood's 
■*■ okay . . . nice people . . . nice studio, 
but it's a city. What the devil can you 
do in a city ? Yell when you feel like it ? 
. . . They'd think you were nuts ! Drive 
as fast as you feel like ? . . . Get a 
ticket ! Ride a horse within miles of 
town ? . . . Have a bustle full of taxicabs 
in five minutes ! 

"Nope ! It's no place for a man that 
likes to move; no city is. Too many 
buildings, people . . . Rather go on a 
swell location trip once a year than do 
ten drawing-room pictures." 

I asked him why he didn't give the 
studio a break and use that "double." 

"What! Think I'm crazy? . . . Let 
him have all the fun and me do all the 
work ? Doesn't make sense ! . . . Tell you 
when I do use him . . . Slim's a swell 
stand-in. Seems to like all that busi- 
ness of standing around under the lights. 
Let him do it. Gives me the jitters. 

"But you take tomorrow, f'rinstance. 
Slim's all right on a horse, but he 
wouldn't get such a bang out of race- 
driving a heavy car on a road like that. 
To him that'd just be work. To me — 
well, boy that's really living ! . . . Yes- 
sir, that's living !" 

His voice trailed off into his more 
usual cryptic comments — half-formed 
sentences, graphic and pungent. He was 
oiling his new .22 Hornet as we sat 
talking that day. No mother ever bathed 
her first-born with any greater care or 
solicitude. He muttered about a speck 
of lint half-way down the barrel, shoved 
some greasepaint around in the drawer 
of his dressing-table until he found the 
precious bottle of cleaning solvent. 
Squinting down the barrel, he said : 

"Got shot at once . . . Tell you about 
it ? . . . That's the kind of thing never 
happens around here . . . Riding in 
from the range up northwest of Helena 
. . . Say, hand me that ramrod, will 

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. . Thanks ... It was along 
„bout dusk. Just moseyin' along, 
mindin' my own business . . . Some- 
thing smacked on the ground . . . 
Thought it was a scared prairie dog. 
Then I heard the report 'way off yonder 
. . . I started moving out of there. 
'Nother one tried to kiss my ear before 
I got down into a wash . . ." 

HE stopped. I waited. Methodically, 
he pulled and pushed on the ram- 
rod. I couldn't stand that very long. 

"Well, what happened?" 

"Happened? Nothing . . . just that." 

"Didn't you find out who did it?" 

"Lord, you're curious ! 'Course not 
. . . probably just some sheep herder 
trying to tell me he didn't like company 
. . . What's the difference, anyway? He 
missed rne !" 

"So you like riding the range and 
getting shot at better than working in 
Hollywood for over seven grand per?" 

"Sure. Nothing happens around here; 
just talk, talk. Look at you ! Talking all 
the time; asking questions. What does 
it get you ?" 

"Well, it doesn't get me shot at, that's 

"Un-huhn ! And right there's where 
you're wrong. More fellows get shot at 
for asking too many questions than ever 
heard lead whistling on account of they 
were keeping still." 

"Oh? Well, if it's all the same to you 
then, you can just put that gun up till 
I'm out of here." 

He grinned and went on packing 
grease into the breech. 

One nice thing about Gary is his 
ability to be silent . . . His silences are 
friendly and never uncomfortable. He's 
a good listener, an interested one. but 
you don't have to talk to get that feeling 
of sympathy and companionship. 

T GUESS that's one reason why 
*■ "Coop" is capable of giving deep 
characterizations, as he did in Peter 
Ibbctsou, as well as playing lighter, more 
masculine roles. When it comes to act- 
ing in contrast to those roles that he 
lives so personally, Gary has his own 
technique. In Desire, if you watch 
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ordinary, everyday drawing-room scenes. 
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he's on a job that requires something 
more than acting . . . He doesn't want 
to act courage, nerve, quick thinking, 
cjuick moving. Gary wants the real 
thing and he is insatiable, tireless in its 
pursuit. He wants action. 



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Don't Be Dumb about Men! 
Says Mae West 

[Continued from page 44] 

"Come up 'n' see me some time." 
For weeks she has been cooped up on 
a set that offered only the cramped di- 
mensions of a cabin aboard a ship bound 
for the Klondike. She had barely enough 
room to permit her to keep a hand on 
the hip. It must have been quite a 
hardship for Mae, who, always before, 
has practised her devastatin' ways on 
sets full of diamonds and cushions. Now 
she was glad to be back in her own very 
feminine apartment. 

That big room was as white as a 
wedding cake. But there was nothing 
uncomfortably prophylactic about its 
snowiness. Sleek, satiny, luxurious, 
seductive — that's the kind of white 
furniture with which this dazzling 
blonde loves to surround herself. And 
just to make the picture perfect, there 
was a bowl of white grapes on the white 
table beside her. Languidly, she reached 
out and took one. 

"Well, first of all, get this straight. 
Women fall down in their dealings with 
men because the girls are too smart. 
That's why I say they're dumb. 

"The average woman is smarter than 
the average man. But the trouble is, 
women play so dumb that they let the 
sterner sex believe it. You, being a man, 
probably won't like that. But you can 
take it. Have a grape." 

My disappointment at hearing her 
poor opinion of the great male intelli- 
gence stole my appetite. I declined the 
grape. "I'd rather have a little more 
of your philosophy," I said feebly. 

"Philosophy, my grandma's tippet ! 
It's just plain common sense. Let me 
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"But isn't that an extreme case you're 
speaking of ?" I protested. 

"Oh, I don't know. Thousands of 
women are like that. They try to be so 
awfully 'cultuahed.' you see. They run 
around like squirrels, picking up cute 
little facts from books and then, instead 
of making sense like the squirrels and 
hoarding them — no, then they feel 
they've got to share 'em with the boy- 
friends. They've got to show off how 
much they've picked up. And do the 
boy-friends fall for it? They don't! 

"MOW look," she went on a bit more 
■*■ ^ firmly, "suppose that engineer I 
was telling you about had been calling on 
a smart girl instead of a dumb one. 
What would she have done ? Why. she'd 
have let him do the talking. She'd have 
drawn him out about his work. And the 
only times she would ever have inter- 
rupted were when she said, 'Gee, aren't 
you smart !' or 'I'll say you put it over 
on him that time !' If she had, what 
would have been the result? Why, you 
couldn't have kept that guy off the 
premises with a typhoid placard, a police 
dog, or a kid brother ! 

"The fact of it is," she summed up, 
"that a man likes to feel that he's the 
tops. The minute a woman lets a man 
find out that she's smarter than he is, 
she's out. He has no further use for her. 
And, boy, you could set off a bomb in 
any clubwomen's meeting in the country 
and you wouldn't scratch a single one 
who understands this. Can the average 

woman keep it dark that. she has brains? 
She cannot. She has to stick her neck 
out and get her brain sunburned !" 

Very much impressed by her sincerity, 
I pressed on. "If you think women are 
so dumb, how do you account for the 
fact that most of them seem to marry — ■ 
even the ones who major in archeology 
and wear ground-gripper shoes?" 

"Oh, yeah? Well, do they stay happy? 
Do they make their husbands happy?" 
Mae quizzed. "Most of the time they do 
not. The fact is, they are even dumber 
about keeping a man than they are about 
getting him. 

"Yeah — and any woman knows that 
the way to a man's heart is through his 
stomach. But the smart woman knows 
that he's likely to get indigestion. He 
doesn't think about his stomach twenty- 
four hours a day. That's as easy to see 
through as a screen door. Look at all 
the poor wives who make slaves of 
themselves, who spend so much time 
on meals and house work that they turn 
into regular robots. Can a man talk to 
a robot, or joke with a robot or stay in 
love with a robot? I'll say he can't! 

"Now I'll let you in on something else. 
Any woman knows that the grass in the 
next pasture looks greenest. The smart 
woman knows enough to make sure that 
there isn't any next pasture. In other 
words, suppose I'm Mrs. Brown with a 
sheik for a husband. Am I dumb enough 
to stay in the same apartment house with 
that devastating Mrs. Jones, whose eye- 
lashes are long enough to take a per- 
manent and whose husband doesn't un- 

derstand her? Or to keep on going to. 
the same parties with her? I'm not! I'd 
get my sheik off where there would be no 
danger of his tripping over those eye- 
lashes, if I had to tear up the works !" 

Again she gazed about .at the fem- 
inine daintiness of her apartment. She 
waved a demonstrative hand. 

"This, for instance — this is strictly 
a woman's domain . . . home — as un- 
masculine as a lace negligee. There are 
lots of mirrors, soft lights, gee-gaws 
and nick-nacks. If I were married, it 
wouldn't be like this. I'd fix up a man's 
home. I'd have strong, sturdy furniture. 
I'd have masculine fixtures. I wouldn't 
change the furniture every other day. 
I'd give a man surroundings that a man 
wanted. I'd be smart enough to do that. 

"And then, " I suggested tentatively, 
"you'd feed him grapes." 

"Yeah, I'd feed him grapes — if he 
wanted — grapes." She permitted herself 
another of those luxurious and discon- 
certing stretches before continuing. "But 
I wouldn't argue with him if he didn't 
want them. That's another trouble with 
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something else. Have a grape — do you 



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Movie Classic for April, 1936 


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George Raft Says, "A Little 

Villainy Can Make You 

a Big Success" 

[Continued from page 41] 

"Why do these parts appeal to you ?" 

In the slight pause following my 
question, his inscrutable dark eyes be- 
came even more shadowy, more opaque. 
"Did you ever stop to think," he said at 
last, "that there's something of the vil- 
lain in nearly all successful men? Take 
a look at the great men of the past, the 
pioneer leaders, the conquerors, the 
diplomats. Yes — even the musicians, the 
poets, the great lovers. You don't have 
to 'walk a mile' through the pages of 
history to discover that a whole pack 
of the men who have had their share of 
success have also had their share of 
villainy. At least, that's what the biog- 
raphers say. Perhaps a portion of vil- 
lainy is as much a part of the recipe 
for success as the good old standard 
virtues like energy, hard work, deter- 
mination. Am I right ?" 

Under the dark insistence of his 
glance, I had to break down and say he 
was. As a matter of fact, something 
else interested me even more than his 
arguments. I voiced it in my next 
question. "How do you happen to be 
such a bookworm?" 

He turned on me with a sudden chal- 
lenge. "Say — are you like some of 
these critics who think that because I 
came from Tenth Avenue I can't read? 
Sure, I'm not a bookworm ! I haven't 
had much time to spend in the silent 
room of the library. But I do like to find 
out about these guys in history — what 
made them tick." 

"Then let me get this straight — you 
like to play the villain — " 

"The half-villain," he interrupted 
quickly. "I don't like to play a yellow 
rat any more than I'd like to play Little 
Lord Fauntlcroy. That was the reason 
why I turned down the part of Popeye 
in The Story of Temple Drake. I 
thought he wasn't the kind of guy that 
people like to see. I still think so ! Pop- 
eye may be all right between the pages 
of a book. When you drag him out in 
the open and give him the definite form 
that he naturally assumes on the screen 
— then he's something else again. He's 
not my type when it comes to the movies. 

"TT'S the mixture of good and bad in 
_L people that gets me. After all, no- 
body in the world is all-black — and prob- 
ably nobody is all-white. And when a 
characterization goes too far in either 
direction, it's likely to get away from 
reality — that is, reality as the average 
person sees it. And when it does that, 
it belongs either in an asylum or a 
museum, not in the movies." 

He paused to offer me a cigarette and 
lit one himself. He did not bother to 
take it from between his tight lips but 
so clipped, so even is his manner of 
speech, that it hardly moved as he talked. 

"The kind of part I like is the one I 

Movie Classic for April, 1936 


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had in The Glass Key. Now, there was 
a real guy. He might have been a little 
bit on the shady side in some of his 
dealings. But he was loyal and he had 
'plenty of what it takes.' He didn't have 
much to say either, but when he did 
talk, it registered. 

"Which brings us back to the point 
that a little bit of villainy does help to 
make things more interesting both on 
the stage and in life," I said. 

"Exactly," he returned quickly. "I 
think villains are interesting. But — by 
villain I don't mean the black-clad figure 
of the old ten, twent' thirt' melodrama. 
That guy with the leer, the sooty handle- 
bar mustache, the cane and the stoop 
shoulders — bent presumably under the 
weight of his accumulated evil deeds. He 
was a cartoon, a caricature. No wonder 
he caught up with the hisses of his audi- 
ence. No, he isn't the guy I mean. I'm 
thinking of the kind you're likely to pass 
on the street all trussed up in the latest 
Bond Street clothes — or maybe sit next 
to at the theatre or the prize fight. The 
kind that combines black and white into 
the gray of the successful man. 

"T'M not saying either that because a 
JL man is successful it follows that he 
has to have some villainy in him. I 
think it's highly likely. But, naturally, 
you can't make any rules. 

"I've heard — or read — somewhere that 
the great man is the man with many 
enemies. Maybe I'm wrong, but it seems 
to me that any man who has managed to 
stack up a gang of people who are wait- 
ing for a chance to do him no good must 
have done something along the line to 
arouse their hatred. They all can't be 
reacting to envy and jealousy. In some 
way and at some time the. great man 
must have pulled something that wasn't 
on the up and up. Either he has — or he 
looks as if he might have ! That's prob- 
ably why he is successful." 

"You're not by any chance thinking 
of bankers ?" I asked. 

He smiled quickly. "No, I'm not," he 
admitted as he exhaled a cloud of smoke 
and followed its nebulous course specu- 
latively. "The depression put the banker 
ill the same class with the guy with the 
handlebar mustache and the leer — not to 
mention 'The Big Bad Wolf.' Anyway," 
he grinned, "I thought we were talking 
about successful men !" 

"Let's forget the bankers," I sug- 
gested, feeling that I had steered a 
worthwhile subject into an uncomfort- 
able channel. 

"Do you think that women are likely 
to fall for the men who have — or at least 
look as if they might have — a little 
villainy within easy reach ?" I asked. 

George looked at me as if he had sud- 
denly discovered that he was lunching 
with a lunatic. "Why, sure — don't 
women like excitement? And the man 
who looks as if he might be capable of 
a misdeed every now and then is the 
one most likely to be able to dish out the 
excitement. And can women take it !" 

Suddenly, he jerked to his feet. "Do 
you mind if we get out of here ? I've 
talked so much about this I'm beginning 
to feel like a villain myself!" 

jbofttCtit YOUR 



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Constance Bennett's 
Style Secrets 

[Continued from page 49] 

in the bodice by either a shirring- or a 
slight fullness at the sides under the 
arms. Surplice effects should be avoided. 

"When a woman finds a gown or suit 
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And Constance showed them to me. 
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"Who are the best-dressed women?" 
I asked. 

Constance reflected a moment. "I 
would say they are the women zvlio dress 
appropriately for the occasion and with 
an eye to their own particular types. 

"You find them everywhere — in small 
towns, as well as noted fashion resorts. 
Good taste has nothing to do with geo- 
graphy — -or an extravagant budget." 

AND then Constance told me the 
three major style sins. 

"No two women in the world are 
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fashion flair. It must be ridiculous then, 
to look to the next person and say, 'I 
must have a dress exactly like that one.' 
To adopt it is a mistake. To adapt it to 
one's own personal requirements is the 
right thing to do. 

"It has been my observation, too, that 
any attempt to be outstandingly dressed 
by being conspicuously dressed is never 
successful. Clothes and colors arc most 
flattering when blended and subdued to 
a personality." 

And style sin No. 3, according to 
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There is a wide difference between 
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them. The latter is for those who think 
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Repetition is another powerful force 
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"I have a heavy oyster-white satin 
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"You were speaking of the 'best- 
dressed' women," observed Constance. 
"It doesn't matter in the least where you 
find them. What does matter is that they 
have clothes-sense, an instinct for line 
and color — which any woman can culti- 
vate !" 

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Win $600 With an Idea 
for a Movie Trademark! 

[Continued from page 54] 

that will bear the Pickford-Lasky trade- 
mark. Will that trademark be one that 
you suggest ? It may be ! You stand as 
good a chance as anyone ! 

Mr. Lasky points out that there is 
interesting romance behind the various 
well-known trademarks of Filmdom. 
One, for example, is M-G-M's roaring 
lion. Samuel Goldwyn, a fellow- 
producer for United Artists with Pick- 
ford-Lasky, can tell you how he hap- 
pened to select the majestic Leo. 

"I was once a student at Columbia 
University," Mr. Goldwyn explains. 
"The lion is the school's mascot. When 
we needed an emblem for the original 
Goldwyn Company, the lion — which I 
have always admired as the king of 
animal creation — flashed through my 
mind. I had an artist make a sketch, 
with the Latin maxim 'Ars Gratia Artis' 
— art for art's sake— and that idea has 
been serving ever since." 

"FROM a long interest in trademarks, 
■*■ Mr. Lasky makes the observation 
that the most effective ones are always 
extremely simple. Elaborate designs fail 
to impress themselves on the public 

"In this contest for a Pickford-Lasky 
Productions' trademark, we are not re- 
quiring participants to submit a draw- 
ing," Mr. Lasky states. "That makes it 
possible for many more to take part. 
Many people have good ideas, but lack 
the ability to draw them. All that is 
necessary is to describe your idea on 
paper and send it in. Of course, if a 
person can sketch, there is no objection 
to entering a design ; but a description 
of .a well-conceived trademark idea will 
receive just as much consideration." 

These are the simple rules of the con- 

1. This contest is open to everyone 
with the exception of employees, or rel- 
atives of employees, of Motion Picture 
Publications, Inc., Fawcett Publications, 
Inc., Pickford-Lasky Productions and 

2. Entries may consist either of writ- 
ten descriptions of trademark ideas, or 
drawings of them. Drawings are not 
necessary. Do not submit fancy entries. 

3. Contest opens February 1, 1936. 
and closes April 15, 1936: winners will 
be announced as soon thereafter as pos- 

4. Entries should be addressed to 
Trademark Contest Editor, Movie 
Classic, 7046 Hollywood Boulevard, 
Hollywood, Calif. 

5. Judges for this contest are Mary 
Pickford, Jesse Lasky and Roscoe Faw- 
cett. Their decision will be final. 

6. In the event of ties, duplicate 
prizes will be awarded. 

Price-winners will agree to sign over 
all rights and titles to winning designs, 
and to accept the price-money as full 
compensation for the same. The judges 
cannot undertake to return any entries. 

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Kids Today Need Kicking 
Around! — Wally Beery 

[Continued from page 45] 

near the testing fire. I still hear par- 
ents whose children are well-fed and 
well-housed and well-clothed, bewailing 
their inability 'to do enough for the 
kids.' They ought to wake up, untie the 
apron strings, and give the youngsters a 
chance to do something for themselves. 

"Kids are a lot like pups — they're too 
cocky to be taught by anything except 
their own mistakes. And the earlier in 
life that they make their mistakes and 
learn their lessons, the better off they 
are. The mistakes made at sixteen are 
not apt to be such calamities as the mis- 
takes made a few years later. We 
'bounce back' more quickly as kids than 
we do as adults. 

"If I had a son in his teens, I'd manu- 
facture a few trials and hardships for 
him if he couldn't find enough troubles 
of his own. I'd make him self-reliant, 
no matter how cruel a father I had to 
appear in the process. I'd teach him, 
by putting him in the way of a few 
humbling 'kicks,' that a man has to fight 
his own battles as he goes through life 
and that the battles can't all end in tri- 
umphs. You can't develop fighters by 
keeping a boy out of fights, any more 
than you can teach him to swim by 
keeping him out of the water. 

«<T HAD my share of kicks as a kid — 
■"■ and I'm grateful for every one of 
them. I've kept on taking them all of 
my life — and I've never had one that 
didn't teach me a badly needed lesson. 

"My people were as poor as the pro- 
verbial churchmouse. If I wanted a dol- 
lar to spend, I had to earn it. I didn't 
have many, but I did learn that there are 
one hundred cents in a dollar and that 
it's a lot easier to spend money than it 
is to earn it. My father could have told 
me those facts until he was hoarse and 
they wouldn't have made an impression, 
but a few weeks' work, wiping engines 
in a roundhouse, left me no illusions. 
Feeding a blast furnace in a nut-and- 
bolt factory — doing twelve hours of 
back-breaking work every day — that was 
my job at sixteen. And I've always been 
glad that it was. That blast furnace 
taught me facts about life that no ad- 
vice could have hammered into my head. 
"Long before I ever saw the inside of 
a schoolroom, I learned that in this 
world the rewards go to the fighters, to 
the men who can take it on the chin and 
come bouncing back for more. I learned 
to despise a whiner ; I learned that every 
man must pay the price for his own mis- 
takes and that excuses won't shade the 
penalty. It's better to learn those les- 
sons as a boy than to learn them — too 
late — as a man. 

«*TT'S mighty few men who can go 
•■■ through life without taking it on 
the chin now and then. During this de- 
pression, we've all seen thousands of 
men so broke. Some of them bounce 

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paid by Music Publishers and Talking Picture Producers. 
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Movie Classic for April, 1936 

back and fight their way to the top 
again, some of them lose their courage 
and stay down for the count, some of 
them end up as suicides. The ones who 
bounce back are the ones, nine times 
out of ten, who went through the 
'school of hard knocks' as children." 

"They say to themselves — just as I've 
had occasion to say to myself time and 
again — -'What of it? I can never be 
poorer than I have been ; I've been 
"down" before and lived through it — so 
why worry ?' " 

And when Wally Beery speaks of the 
courage with which he has met adver- 
sities, he is neither bragging nor exag- 
gerating. He came here to Hollywood 
a star; a few years later he couldn't get 
a job at any price and he hadn't enough 
money in his pocket to buy a square 
meal. He could have cashed in, in 1930, 
for a cool million ; a year later he was a 
bankrupt. But there's not one person 
in Hollywood who can truthfully say 
that he ever saw Wally Beery despond- 

"This profession of mine," he says, 
"has more ups and downs and swift re- 
versals of fortune than any other pro- 
fession on earth. And I've always no- 
ticed that the people who go to the top 
and stay at the top are the people who 
were kicked around as kids. People who 
had too easy a time of it seldom last. 

"AT Metro-Goldwyn-Mayer, where I 
-^*- am under contract, some of the 
outstanding stars are Joan Crawford, 
Norma Shearer, Clark Gable, Jean Har- 
low, Bob Montgomery, Nelson Eddy, 
Jeanette McDonald, Greta Garbo, Bill 
Powell and Myrna Loy. They've all 
stood the test of time and they'll con- 
tinue to stand the test for the simple 
reason that, without an exception, they 
were 'kicked' up the ladder to success 
and learned their lessons thoroughly in 
the process. A girl like Joan Crawford, 
for instance, can't be crushed by a re- 
versal of luck — she has taken it on the 
chin from Lady Luck so often that she 
knows a fighter can always come back. 
"In the last three or four years, hun- 
dreds of boys and girls from wealthy 
families have flocked to Hollywood — 
pampered youngsters whose parents 
have always given them everything they 
wanted. A few have made good, but 
ninety-nine per cent of them have given 
up and gone back home. Polite society 
has recognized Hollywood, but the pic- 
ture game is still part and parcel of the 
theatrical profession and no place for 
anyone who is easily discouraged. 

"I have an adopted daughter and 
I worship the ground she walks on. 
Carol Ann is only a baby now and I 
have no idea what course her life will 
take. And neither do I care, so long 
as she learns to stand on her own two 
feet and take everything life has to offer 
without a whimper. I want her to be 
self-reliant and it's my business to see 
that she learns the lessons that every 
good fighter must learn. I can give her 
all the theories, but only experience can 
make the theories impressive. There's 
nothing I wouldn't do for her — except 
to shelter her from the beneficial 'kicks' 
that every kid needs." 







Can You Finish 
This M*g\e? 


And 100 Other 

Valuable Prizes for 

Best Last Lines 





MILLIONS have found they do not need to 
drench their stomachs with strong, caustic 
alkalies. Physicians have said this habit often 
brings further acid indigestion. So much more 
safe and sensible to simply carry a roll of Turns 
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as candy and only 10c at any drug store. 



ANTACID . . . 

A Valuable Prize For 
Everyone Who Enters 

Can you write a last line to this jingle? It's easy! 
It's fun! And your 'last line" may win one of the 
158 valuable prizes! 1st prize — $100.00; 2nd prize — 
$50.00; 3rd prize— $25.00; five prizes of $5.00 each; 
fifty prizes of $1.00 each; 50 Eversharp pencils; 50 
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while gift besides. Get your information about 
TUMS from the advertisement at the left, then 
read the simple rules. 


"Write your "last line" in dotted line, tear out whole 
advertisement, and mail with your name and ad- 
dress to the address given below. If you submit more 
than one entry, simply write your additional "last 
line" on a plain sheet of paper. But EACH "last 
line" submitted must be accompanied by the 
wrapper from a 10c roll of TUMS which you can se- 
cure at any drug store. 

Elaborateness will not be considered. Only s kill 
-with which "last line" is completed, and neatness 
will count. Every entry will be individually consid- 
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No entries will be returned. Judges will be chosen by 
officials of the A. H. Lewis Co. In event of tie, dupli- 
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larked not later than midnight of May 31st. 1936. 

rize-winners will be notified as soon as awards are 


Address your entries to Contest Department, 
Room 22-A; The A. H. Lewis Co., 4th and Spruce 
Streets, St. Louis, Missouri. 

I was so lonely and friendless, 
a new-comer to town. Neighbors 
called once- — but never came again. 

I read how a woman became popu- 
lar by learning to play through the 
TJ. S. School Course. I enrolled. 

Soon ] was able to play real tunes. 
Now I'm invited everywhere. They 
call me "the life of the party". 

MUSIC — the Surest Path to Friends easy to learn this short-cut ivaij 

NO longer need you envy people who play — who 
are always the center of attraction at parties 
■ — who make friends immediately wherever they go. 
Now this modern short-cut home-study method can 
make YOU an accomplished musician. It can 
bring you the good times you've always longed for. 
More than 700.000 men, women, boys and girls 
have studied music without a teacher the famous 
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few cents a day! 

Easy As A-B-C 

This new "print-and-picture" method is literally 
as easy as A-B-C. The U. S. School simplified 
instructions, written by expert teachers, first tell 
you what to do. Then 
a picture shows you 
what to do. Then you 
do it yourself and hear 

And you learn so 
much more quickly by 
this modern, up-to-date 
method than was pos- 
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Piano Saxophone 

Guitar Violin 

Organ Ukulele 

Tenor Banjo 
Hawaiian Guitar 
Piano Accordion 
Or A ny Other 1 nstrument 

practicing way. Now you play real tunes almost 
from the start — by note. No teacher to fuss 3011. 
No wearying scales to plague you. No interfer- 
ence with business or pleasure, because you choose 
your own time at home. 

Prove to yourself without cost how easily and quickly 
you can learn to play. Send today for our booklet, "How 
You Can Master Music in Your Own Home. " With it 
conies a Free Demonstration Lesson which shows graphi- 
cally how simple this expert home instruction really is 
Mail the- coupon TODAY. TJ. S. School of Music." 304 
Brunswick Bldg. , New York City. Instruments supplied if 
desired — cash or credit. 



364 Brunswick Bldg., New York City 

Send me your amazing free book. "How You Can Master 
Music in Your Own Home," with inspiring- message by 
Dr. Frank Crane, also Free Demonstration Lesson and 
particulars of 5'our easy payment plan. (Mention Instru- 
ment.) I enclose 3c stamp to help pay cost of handling. 

Have you 
Instrument Instrument ?.. 

Movie Classic for April, 1936 


We Receive 

Hundreds of 

letters like this 

"1 bought a 84x4J^ 
u 2 years ago 
is on my truck 
yetand good for an- 
other year." — John 


Size Rim Tires Tubes 

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29x4.60-20 2.0O 



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Size Tires Tubes 

33x4!^ $3.10 $1.16 
34X4H 3.10 1.15 
30x5 3.30 1.35 

33x5 3.40 1.45 
35x5 3.55 155 


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30x5 $3.70 $1.95 
33x5 3.75 1.45 
34x5 3.95 2.00 

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0.00-20 $3.25 $1.6 r 
6.50-20 3.60 1.95 
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36x8 10.65 3.95 

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■ ■ ■ • Direct from 7actoru J 



WHEN your baby suffers from teeth- 
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Dr. Hand's Teething Lotion is the 
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Teething Lotion 

Buy Dr.Hand'sfrom your druggist today 


1. Rita Rio, featured actress in Strike 
Me Pink, is tickled pink over her new 
shoes, called "Rebel Raiders." The mili- 
tary feeling is reflected in shining metal 
buttons and the tab on the instep is two- 
colored and reversible. $8.50. 

2. There really is promise of shapely 
bosoms for the flat-chested — and the 
magic is not accomplished with mirrors 
either ! Little pads tucked in the inside 
pockets of a skillfully designed brassiere 
give the appearance of natural, alluring 
curves. What this brassiere does for 
your figger is nobody's business but your 
own — and you needn't tell. All this al- 
lure for $2.00. 

3. Those of you who haven't the time, 
or can't stretch your budgets to include 
frequent salon facials, will bless the 
makers of the new oatmeal facial that 
can be applied at home. An oatmeal 
facial works wonders on oily skin and 
blackheads — even grandma can tell you 
that. But grandma had to struggle with 
a messy home-made concoction in her 
day, and all you have to do is to add a 
few drops of water to this new, simple- 
to-use oatmeal facial preparation. 10c 
small size and 60c large size. 

4. One of the ways screen stars keep fit 
is by including plenty of fruits in their 
diet. So, since this is true, why not use 
fruits in cosmetics? Why not indeed, 
and the new fruit cosmetics containing 
95 per cent pure fruit are the result of 

Movie Classic for April, 1936 

No House-lo-House Canvassing Necessary 

New kind of work for ambitious women dem- 
onstrating gorgeous Paris-Btyied dresses ot di- 
rect factory prices. You con make up to 522 in a 
week, full or e pare time, and got all your own 
dresses free of any cost to wear and show. 
Fashion Frocks are nationally advertised and 
are known to women everywhere. 

No Investment Ever Required 

We send you an elaborate Style Presentation in full 
colors and rich fabrics. Write fully for details of this 
marvelous opportunity, giving age and dress size. 

FASHION FROCKS, Inc. ci^nnat°; 2 £ 

//=• you su^f-er moM 


ECZEMA . MM E ■ ■* hoati © « s 

Let PS0RACINE help you. This remarkable, stainless, easy 
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obtain quick relief from the misery and embarrassment of 
V0UR skin disorder, try PS0RACINE. Write us for in- 
teresting FEEE information on skin disorders. 
Illinois Medical Products, 208 N. Wells, D-73, Chicago 






this logic. There's a cleansing cream 
made from tropical Persian Lime ; an 
astringent prepared from the juice of 
the Tangelo ; a tissue cream containing 
Avocado oil ; and a Persian Lime-Avo- 
cado finishing lotion. You'll like the 
clean fruity odor and especially the 
effects of these fruit cosmetics on the 
skin. $2.50 introductory set or 75c each item. 

5. How do you look when you first wake 
up in the morning? Ah-ha, we thought 
so ! If a glance at your sleepy face in 
the mirror, leaves something to be de- 
sired, try waking up your dull, sallow 
skin with a morning stimulating cream. 
It looks like pink marshmallow, gets rid 
of puffiness about the eyes and makes 
your skin fresh and young in the search- 
ing light of morning. $1.50 a jar. 

6. If you're looking for a short cut to 
take you from the kitchen to an early 
show at 3'our local movie theatre in half 
the usual time, then by all means look 
into the ovenware situation. You can 
buy an attractive set of dishes built to 
stand oven heat and refrigerator cold. 
Into the oven, then onto the table — no 
washing pots, no scouring, no scraping. 
Just soap and hot water, that's all. There 
are all sorts of attractive pieces from 
shallow shirred-egg dishes, little one- 
handled French marmite dishes, platters, 
bowls, casseroles, bean pots, to a com- 
plete set of tableware. Price from 10c 
to 35c per item. 

7. Here's good news for those who wear 
dress shields. Brand-new shields are on 
the market that are light, sheer and cool. 
More — they are guaranteed to withstand 
almost endless boiling and ironing with- 
out losing their shape. Their light tex- 
ture brings new-found comfort and posi- 
tive under-arm protection. 35c a pair. 

8. If you are being influenced this sea- 
son by the Chinese trend in millinery, 
suits and accessories, you will undoubted- 
ly want a Chinese-red lipstick that will 
blend with the brilliant colors of the 
Orient. There is one in a simple ivory 
container that is highly indelible, frag- 
rant as Chinese tea, and comes in a 
striking shade of lacquer red. $2.00. 

9. The very next time you are sniffling 
with a miserable cold in the head and 
hesitating about that much-needed sham- 
poo — try an emergency "liquid dry" 
shampoo. But perhaps we had better ex- 
plain. It's a fragrant liquid dry-cleaner 
that you pour over your hair. Instantly, 
it removes dust and oil and in three 
minutes your hair is thoroughly dry. 
More than that, it won't spoil your 
fingerwave. 65c a bottle. 

10. Jean Muir arrived back from Europe 
with a new perfume find. In a Rue de la 
Paix shop she discovered a perfume with 
a racy, tangy fragrance which she be- 
lieved ideal to wear during the daytime 
or evening. Jean brought back several 
bottles across the Atlantic only to find 
that she could have bought them right 
here in America. Anyway, she claims they 
were worth the trouble. $1.10 dram size. 

You wonder what products stars 
use — and whether or not you could 
afford them. Here, each month, you 
will find ready answers. If you 
would like the trade names of any 
of the products described, just write 
to the Shopping Scouts, MOVIE 
CLASSIC, 7046 Hollywood Boule- 
vard, Hollywood, Calif. — enclosing a 
stamped, self addressed envelope for 


And then she made up her mind to get thin and 
did, without hard exercise or starvation diet 

Nobody loves a fat girl — but why 
mope about it when you can so easily 
get rid of that excess fat by means 
of a tried and true corrective, known 
and recommended by physicians the 
world over? 

Many years ago medical science 
discovered that obesity — when an 
abnormal condition — is caused by the 
lack of an important element which 
the body normally supplies. 

That element — which is the chief 
ingredient of Marmola — has since 
been prescribed to thousands of 
overweight women, with amazingly 
beneficial results. It is taken with 
their meals. They do not wear them- 
selves out with exercising, do not 
starve themselves, nor drain their 
systems with drastic purgatives. Yet 
day by day they have felt lighter, 
more alert, more energetic. Soon 
they find their weight satisfactory. 

The excess fat has simply slipped away, 
revealing the trim and slender figure 

Sounds like a miracle, but thou- 
sands of women who have taken 
Marmola as directed — 4 tablets a 
day — might well tell you it's a dem- 
onstrated fact. Indeed, since 1907, 
more than 20 million packages of 
Marmola have been purchased — 
proof positive that nothing succeeds 
like success. Marmola is put up by 
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Start today! You will soon expe- 
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you have gone far enough, stop tak- 
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day when you first discovered this 
marvelous reducing agent! 

Marmola is on sale by all dealers 
— from coast to coast. 


If you are dissatisfied with your hair inquire into unique 
French method K NOG RAY. Colors hair any shade, blonde 
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The "AVIATOR" Identification 

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Ho more UGLy HECK 

If your neck isscrawny, thin and ugly, 
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Dress like a star! Win a free trip to 
Hollywood ! See page 5U. 



They were getting on each 
other's nerves. Intestinal 
sluggishness was really the 
cause — made them tired 
with frequent headaches, 
bilious spells. But that is all 
changed now. For they dis- 
covered, like millions of 
others, that nature provided 
the correct laxatives in 
plants and vegetables. Tonight try Natures 
Remedy (NR Tablets). How much better you 
feel — invigorated, refreshed. Important — you 
do not have to increase the dose. They con- 
tain no phenol or 
mineral deriva- 
tives. Only 25c — 
all druggists. 



NOVEX CO., Drawer 1271- A, Birmingham, Ala. ' 


Beautiful five-color 1936 Calendar-Thermometer. Also 
'samples of NR and Tunis. Send stamp for packing and 
I postage to A. H. Lewis Co.. Desfr 70D-9. .St. Louis, Mo. 

Movie Classic for April, 1936 




Handles like C/oth! 

AN utterly new kind of comforter filling has been 
perfected — free from faults that make the use of 
ordinary cotton batts so unsatisfactory. Unique finish 
makes it easy to handle as cloth — keeps it from com- 
ing apart in making or getting lumpy. Exclusive 
AIR-CELL construction also makes Fluft MOUN- 
TAIN MIST warm as ordi- 
nary cotton batts 50% 
heavier. How its dazzling 
whiteness brings out color 
and design of cover fabrics! 
No lint or dust! Be sure to 
get all these qualities; insist 
on genuine Fluft MOUN- 
TAIN MIST.Atallleadingdry 
goods and department stores. 

Dept. D-ll, 
Lockland, Cincinnati, O. 


(Ree. U. S. Patent Office) 


Lockland. Cincinnati, Ohio 

Rush me FREE full color Comforter Designs and 
instructions for making. 

Name. . . 


4 Glamorous 
Comforter Designs 

Full color designs for 4 
lovely comfortersgiven 
FREE with full instruc- 
tions. SEND NO 
MONEY — just mail 
the coupon. 





Fits in any small pocket easily. Weighs only 4 02s. as shown. Comes 
in loar beautiful colors (Black, Blue, Brown, Silver.) No tubes, 
batteries, or electrical connections needed! Nothing to wear or need 
replacement— will last for years— only one moving parti Separates 
and receives broadcast stations whh beautiful clear tone. Range up 
to 50 miles-MUCH GREATER unrier goo I conditions-very little 
Btatic or interference! Can be used by ANYONE ANY WHERE! NO 
CRYSTALS TO ADJUST! Absolutely complete with midget phone 
and instructions to use while in bed, hotels, at home, autos. offices, 
camps, on bicycleB or any place you maybe. No complicated or in espy 
hnokups-t«ke B only a second to connect! THOUSANDS OF SAT- 
ISFIED OWNERS. THESE ARE FACTS! Send only S1.00 and pay 
postman SI. 99 plus postage on arrival or se^d S2.99 (Cash, M. O. 
Check). Idea) Gift. Guaranteed. ORDER NOW1 State Color. 
Foreign ordeis 65c extra. 



TORTURE STOPPED Ut one minute! 

For quick relief from the itching of pimples, blotches, 
eczema, athlete's foot, rashes and other skin eruptions, 
apply Dr. Dennis' cooling, antiseptic, liquid D. D. D. 
Prescription. Its gentle oils soothe the irritated 
6kin. Clear, greaseless and stainless — dries fast. Stops 
the most intense itching instantly. A 35c trial bottle, 
at drug stores, proves it — or money back. Ask for— 

D.D.D. PA£A>ahZ&&j<yn t 


Who Discovered Gable? 
Mervyn LeRoy! 

[Continued from page 51] 

and understanding that Mervyn Le- 
Roy gave to them, when others 
scorned and doubted their possibil- 
ities. And so can Clark Gable. 

Why could only one man — Mervyn 
Le Roy — see the potentiality of an 
unknown who was destined to be the 
greatest star in Hollywood? . . . Dur- 
ing the making of Little Caesar, Mer- 
vyn was searching for an actor to 
play — Joe Massara. At the same time, 
a "road company" was presenting at 
the Mayan Theatre a prison play en- 
titled The Last Mile. 

Mervyn saw that play, and in it he 
witnessed Gable playing with fervor, 
and dramatic fire, the role of a ruth- 
less racketeer — Killer Mcars. When 
the curtain had dropped, LeRoy 
rushed backstage, demanding to see 
Killer Mcars, confident that he had 
found a new star. 

COUNTLESS people have since 
asked Mervyn LeRoy how he was 
able to recognize the ability that 
Gable has since proved he possesses. 
Mervyn always sinks his teeth into a 
different position on his cigar and an- 
swers, "The mirror to a man's soul 
is his eyes. I can still see Clark as 
he was that night — a man with kind- 
ness, suffering, and deep feeling in 
those fine eyes of his. That sold me." 

Clark had lived, and his living was 
reflected in his eyes. 

But the battle wasn't over. Mer- 
vyn had to sell Gable to the studio. 
First he made the test. It was more 
than satisfactory to him — but a few 
executives objected to certain por- 
tions of Clark's facial features. They 
said he was not good-looking enough. 
Gable, now the idol of fifty million 
women, didn't have what it takes ! 

Mervyn, as he says, "got down on 
his hands and knees to them." He 
fought, argued, pleaded, all to no 
avail. They let Gable go. 

Clark Gable shook hands with Mer- 
wn LeRoy, and with the words of 
the little director, "Clark Gable you're 
fine, you have feeling, go get 'em," 
ringing in his ears, he went out and 
made motion picture history! 

The real explanation of Mervyn 
LeRoy's ability to recognize great- 
ness, he himself may not know. It 
is too close to him. When he stood 
backstage in that little Los Angeles 
theater, analyzing the unknown young 
Gable, seeing the character behind his 
eyes, the firm, undaunted spirit be- 
neath his warm smile, he forgot to 
think what Clark Gable saw before 
him. . . . Clark saw a man with the 
same characteristics. It must have 
been an inspirational sight. For Clark 
Gable was looking at himself through 
the eyes of Mervyn LeRoy. 

Movie Classic for April, 1936 

Wife Wins Fight 




Sleeps Fine, Feels 10 

Years Younger — Uses 

Guaranteed Cystci 


Thousands of women and men sufferers from poorly 
functioning Kidneys and Bladder have discovered a simple, 
easy way to sleep fine and feel years younger by combating 
Getting Up Rights, Backache, Leg Bains, Nervousness, 
Stiffness, Neuralgia. Burning, Smarting and Acidity duo 
to poor Kidney and Bladder functions, by using a Doctor's 
prescription called Cystex (Siss-tex). Works fast, safe, 
and sure. In 48 hours it must bring new vitality, and is 
guaranteed to do the work in one week or money back on 
return of empty package. Cystex costs only 3c a dose at 
druggists. The guarantee protects you. 



Guaranteed Relief or No Pay. Stop hawking— 
stuffed-up nose — bad breath — Sinus irritation- 
phlegm -filled throat. Send Post Card or letter 
for New Treatment Chart and Money. Back Offer. 
40,000 Druggists sell Hall's Catarrh Medicine. 

63rd year in business. . . Write today! 
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or New -Hose FREE / 

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New, sensational free 'Replacement Guarantee 
on fine hosiery. Chiffons, service weights. 
Big line for men, women, children. Holes, 
snags, runs appearing in from \Vz to 8 months 
from ordinary wear, replaced free. R. Poirier, 
Maine, reports earnings $127 from August 17 
to August 24, 1935. Ninety-six styles, 
colors. Selling equipment supplied. A 
Agents write, give hose size. 


9-b Midway, Greenfield, 
Ohio - 


L 'T^'Ui! «oviE*cmes :• 

- * :; V'i WEARIKS « 
•'\;v •';"*? WILKNIT ■• 

What You Should 
Know About 


in the April 


10c everywhere 

"Color Does Plenty 
for a Girl!" 

[Continued from page 13] 

I really think he deserves tremendous 
credit for having the courage and judg- 
ment to leave out all the prettiness — 
using only what was necessary to the 
story. Consequently, the picture is not 
just a glorified travelogue. . . He had 
the same idea for his actors. He didn't 
want us all pretty-pretty, like hand- 
colored photographs. We were all to 
be simple — and real." 

Sylvia laughed, and added, "I don't 
mean to say that beautiful women won't 
still be important in Hollywood when 
color in pictures is a matter of course. 
Color will enhance their beauty. But it 
will also help the women who have al- 
ways felt that they were plain. It will 
bring out their charm, their real beauty, 
which may have been hidden before. 
Motion pictures will have more room 
than ever before for women who 
have vivid personalities and plain fea- 
tures. It won't be only the local beauty 
who will be told by her friends that she 
'should go into the movies' — many more 
will now have a chance on the color 

<<TLTERE is an interesting thing we 

*■ ■*• discovered : A heavy make-up 
looks like a greasy mask in color pic- 
tures. So all we used was a light dust- 
ing of powder. You have to be natural 
to get by with a color camera. . . I wore 
just a little rouge, and the lipstick I 
used was not to make the lips redder. 
They were too red already and came 
out very dark in the rushes — I had to 
use a lipstick to make them lighter. 

"Another effect color will have is to 
make Hollywood very health-conscious. 
Purple circles under the eyes and blood- 
shot eyeballs show up just as much as 
yellow hair and purple mountains. So 
we'll have to keep in good physical con- 
dition. We'll all be going to bed at eight 
and getting up at five — and getting plen- 
ty of exercise in between times to keep 

"Why five in the morning?" I queried. 

"It seems that the afternoon sun turns 
everything — including faces — yellow. So 
we worked from six in the morning to 
two in the afternoon. 

"Another interesting thing : This was 
the first color picture that wasn't a cos- 
tume picture, and we wanted to subdue 
the colors in the clothes, rather than to 
make them important. We wanted the 
story to stand out." 

"I should say, judging from what 
you've already said, that you like color 
pictures — you think they are an im- 
provement over black-and-white ?" I 

"Definitely, yes," Sylvia said serious- 
ly. "Color can enhance a story and make 
it more real and more true to life. At 
the same time, it will probably start a 
world-wide new fashion," she added. 
"That is, 'Be Yourself !" 




Bv a Star 

Read Carole Lombard's 

issue of 


An all-star issue edited by a popular 
favorite — read the latest news about 
Joan Crawford, Marlene Dietrich, 
Spencer Tracy, Katharine Hepburn, 
Jean Harlow, Myrna Loy and many 
others. Every story and picture se- 
lected by one of the screen's most fas- 
cinating feminine personalities — Carole 




Amazing Profits 

For Those Who Know 


-rounder o-r 




There are literally thousands of old 
coins and bills that we want at once 
and for which we will pay big cash 
premiums. Many of these coins are now passing from hand to hand ia 
circulation. Today or tomorrow a valuable coin may come into your posses- 
ion. Watch your change. Know what to look for. 
_ 'on't sell your coins, encased postage stamps, or paper money to any other 
™"^™™ dealer until you have first seen the prices that we will pay for them. 

1860 Cents $50.00— Cents of 1861, 1864, 1865, 1869, 1870, 1881, 1890, S20.00 each— Half Cents 5250.00 
— Large Copper Cents 52000.00— Flying Eagle Cents 520.00 — Half Dimes 5150.00— 20c Pieces 
$100.00 — 23c before 1873, 5300.00 — 50c before 1879, 5750.00 — Silver[Dollars before 1874, 52500.00 
— Trade Dollars S250.00-—Gold Dollars 51000.00 — 82.50 Gold Pieces before 1876. 5600.00— $3 
Gold Pieces 5100-1.00—85 Gold Pieces before 1888, 55000.00 — $10 Gold Pieces before 1908, 5150.00 
— Commemorative Half Dollars 58-00 — Commemorative Gold Coins 5115.00. 

PAPER MONEY— Fractional Cnrrency $26.00. Confederate Bills $15.00. 

Encased Postage Stamps 512. CJ. 

FOREIGN COBNS — Certain Copper or Silver Coins 515.00. Gold Coins $150.00, etes 

DON'T WAIT S Send Dime Today for Our Large Illustrated List Before Sending Coins 


ROMANO'S COISS9 SHOP, Dept. 551, Springfield, Mass. 


ROMANO'S COIN SHOP, Springfield, Mass. 1 

Gentlemen: Please send me your large illustrated list for which ■ 

I enclose 10c in cash carefully wrapped. p» „j_ r r i * 





& n bs i 
Movie Classic for April, 1936 





Final Flashes! 

Claudette Colbert the ,1, 

»«n« ^W ay _ do :; h ^ynew brfde, tabs a bu. 

Mar 'ene Dietrich and D? ec f£ 17^:°^ *'«• 

Photos © NANA and Jerome Zerbe 






. . . 20th Century-Fox Players 


Invisible Rhythm Treads 

Give Amazing Comfort in the Smartest 
of Shoes . . . RHYTHM STEP 

IT took Hollywood by storm . . . this grand new idea in shoes! And 
women everywhere are thrilled to find that the lightest, trimmest of 
style shoes have amazing extra comfort features . . . with Invisible 
Rhythm Treads! An utterly new principle that makes heavy leathers, 
weighty arches and bulky heels entirely unnecessary to ease the strain 
of body weight! A revolutionary idea that makes walking more buoyant, 
more graceful and more comfortable! 

ONE . . . TWO . . . THREE STEP . . . 

Means Extra Support in Light, Dainty Shoes 

Rhythm Step exclusive feature . . . Invisible 
Rhythm Treads . . . buoys up your foot at three 
strain points . . . instead of just the main arch! 
It cushions your heel against pavement pounding. 
Gives a "lift" to your arch and metatarsal . . . with 
less weight and bulk than has ever been possible! 
In shoes so gay that smart young things and 
women who've been wearing "comiort" shoes for 
years, greeted them with enthusiasm! 

Jyll Egger, Dancing "Headliner", Shows How Invisible 
Rhythm Treads Support the Foot at Three Strain Poitits 







As your hee I 
pounds thepave- 
ment Rhythm 
Treads cushion 
the shock and 
protect delicate 
nerve centers. 

As 'weight 
shifts to your 
arch all strain 
is absorbed and 
cushioned... in 
addition to the 
usual bui It- 
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Rhythm Step Shoes are Sold Exclusively in 

the Leading Department Store or 

Shoe Store in Your City 

Write Us for the Name 


Makers of Fashion Plate Shoe 


. . . Recognized Style Leaders 

Louis, Missouri 

for Over 20 Years 



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r i t*i 






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wBlfe,, ■' 


jrv'' : V;' ; / Luckies are less acid ! 

1 1 


% \ 

\; / Recent chemical tests show* 


■ ^Uib^- 

vfr that other popular brands have 

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Strike of from 53% to 100% 



HJBP; J9 |H jB 

j&gR 1 J^p* 1 

1 9 



]ow Edited 


rites An Open 

tter to a Beau 


The motion picture that is 
eagerly awaited the world over 

omeo w 





To the famed producer Irving Thalberg go the honors for bringing to the screen, 
with tenderness and reverence, William Shakespeare's imperishable love story. The 
director is George Cukor. A METRO-GOLDWYN-MAYER PICTURE. 

Movie Classic for May, 1936 

MAR 27 1936 


Movie Classic is now writ- 
ten and edited com- 
pletely in Hollywood, to 
bring you new features, 
stories and photos . . . 
with news that is NEW! 


B 2 9 492 HA, 




MAY, 1936 

VOL 10, No. 3 ' 

/ Editor 


Managing Editor 

/In Quest of Romance by William Ulman, Jr. 28 

Beginning the dramatic life story of ERROL FLYNN 

Stop! Don't Lose Your Temper — Merle Oberon by Marian Rhea 31 

Janet Gaynor Writes an Open Letter to a Beau by Janet Saynor 32 

Jean and Clark Expose Each Other by Gladys Hall 34 

Spell of the River — Irene Dunne by William F. French 36 

The Moon Was Their Home — Margaret Sullavan and Henry Fonda 

by Katharine Hartley 38 

Robert Taylor — Hollywood Aladdin by Mary Hill 39 

Romance in Vienna — Grace Moore by Henry Langford 40 

Learn to Hula With Me by Shirley Temple 42 

I Knew Him When — Fred Astaire by Helen Broderick 44 

Forward, March by Harry Lang 46 

Binnie Barnes Wouldn't Accept Defeat by Sonia Lee 50 

Tips for Tiny Girls — Isabel Jewell by Clark Warren 54 

$1000 for an Idea , . . . . 10 

Mary Plckford and Jesse L. Lasky offer rich prizes for a new trademark. 

Knit Your Way to Hollywood 20 

Two free trips to Hollywood and many valuable prizes are offered. 


Partv Line in Hollywood by Eric Ergenbright 12 

The latest about pictures and stars. 

The Show Window 22 

Appraising the new screen offerings. 

Come to Hollywood! „ . c . 49 

Announcing a grand r.ew Movieland Tour. 

Hollywood Highlights by Hedda Hopper 56 

Up-to-the-minute revelations about Hollywood's favorites. 



Published monthly by Motion Picture Publications, Inc., (a Minnesota 
Corporation) at Mount Morris, 111. Executive Offices, Paramount Building, 
1501 Broadway, New York City, N.Y. Editorial offices, 7046 Hollywood 
Blvd., Hollywood, Calif. Entered as second-class matter April 1, 1935, at 
the Post Office at Mount Morris, III., under the act of March 3, 1879. 
Additional entry at Greenwich, Conn. Copyright 1936.1 Reprinting in 
whole or in part forbidden except by permission of the publishers. Title 
registered in U.S. Patent Office. Printed in U.S.A. Address manuscripts 


Vice President 

to Hollywood Editorial Offices. Not responsible for lost manuscripts or 
photos. Price 10c per copy, subscription price $1.00 per year in the United 
States and Possessions. Advertising forms close the 20th of the third month 
preceding date of issue. Advertising offices: New York, 1501 Broadway ; 
Chicago, 360. N. Michigan Ave.; San Francisco, Simpson-Rcilly, 1014 Russ 
Bldg. ; -'Los. Angeles, Simpson-Reilly, 536 S. Hill St. General business 
offices, Fawcctt Bldg., Greenwich, Conn. 








"A friend told me how to clear up that 
logy, bilious, 'all -run -down' condition 
caused by constipation. Before I went to 
bed last night, I chewed delicious FEEN- 
A-MINT for 3 minutes. * It's this chewing, 
they tell me, that makes FEEN-A-MINT 
so much more effective. Well, it worked 
wonders for me. Today I'm fresh and 
rested — feel like a new person. This easy 
3-minute way is so much nicer than taking 
harsh, griping, 'gulped' cathartics." 

FEEN-A-MINT is fine for children too. 
No urging necessary to make them take 
FEEN-A-MINT, because they love its 
cool, fresh, minty chewing-gum flavor. 
And it's not habit -forming. Go to your 
druggist today and get a generous family- 
sized supply of delicious FEEN-A-MINT. 
Only 15c or 25c. Slightly .^d^ *Longer 
higher in Canada. ^^^^^^ if you 


Now You re 


Few screen personalities have cre- 
ated a greater sensation than has 
Paulette Goddard whose debut in 
Charlie Chaplin's new film, Mod- 
ern Times, should be the signal for 
a flood of unusually interesting let- 
ters from Movie Classic readers 


15 Prize Letter 

Stories or Stars — Are stars ever greater 
than the story in which they appear ? I think 
not. And, it seems to me, that Hollywood's 
greatest need is writers. The hue and cry 
for new faces is heard on every hand, yet 
two very familiar faces flashed to greater 
popularity and the Academy Award in the 
scintillating and very different It Happened 
One Night. Myrna Loy, an old timer, 
steeped in slinky, exotic roles, created a 
sensation in The Thin Man and has been in 
popular favor ever since. Margaret Sulla- 
van, with just the average in talents, flashed 
to stardom in her first picture, Only Yester- 
day, an unforgettable story. Constance Ben- 
nett, a few seasons ago one of the leading 
boxoffice attractions, is languishing in idle- 
ness due to poor stories. Carole Lombard, 
one of the best bets in Hollywood, or any- 
where else for that matter, only needed a 
good story to elevate her to the heights. 
"Big"' stories that brought fame and success 
to screen stars are bywords in Hollywood. 
Janet Gaynor and Seventh Heaven, Irene 
Dunne and Back Street, Jean Hirlow and 
Hell's Angels are just a few. Hollywood is 
not in need of new faces, but good stories. 
— Mrs. R. W . Ballard, 506 Clement Avenue, 
Charlotte, N. C. 

$10 Prize Letter 

Praise for the Unsung Heroes — Let's give 
a hand for the good sound supporting play- 
ers who build up the atmosphere and the 
situation all ready for the star to cap the 
climax. How many of them there are that 
we know by sight, if not by name, and rec- 
ognize with pleasure when they appear. 
Una Merkel has been a fine example. What 
a help she was in Broadway Melody of 1936 

Movie Classic for May, 1936 

An open forum de- 
voted to frank letters 
from our readers— 
the franker the better 

and before that in dozens of other pictures. 
Now she is getting general recognition and 
will be graduated, I presume, into leading 
parts and stardom. Why shouldn't the sup- 
porting players get a little more recognition 
and praise for their work as supporting 
players in small parts — for their skill and 
success in making the stars look their best? 
In every crook picture there are a lot of 
hard-boiled gangsters and detectives. Who 
are the men who play these parts? Serious- 
ly, I would like to see an article about these 
men with their names and their photographs. 
— Henry D. Wood, 55A1 Morris Street, 
Philadelphia, Pa. 

$5 Prize Letter 

A Common Complaint — Something should 
be done about the double feature nuisance. 
I'm on strike against the movies until they 
do something about it and there are others 
who feel the same way. Here's a case in 
point : The last movie I saw, which was 
five weeks ago, was Mutiny on the Bounty. 
Entering the theatre at seven o'clock I had 
to remain until eleven-fifteen to see that 
fine picture in its entirety. I had to sit thru 
a showing of the other "feature" — a stupid, 
insipid thing. They also showed a piece 
of a stale newsreel. Result: four and a half 
hours spent to see one good picture. Why 
must they cram those trashy pictures down 
the throats of movie goers? Let's have a 
return of the program that showed one fea- 
ture, a comedy or pictorial and a news reel. 
— Eugene A. Healy, 478 Lenox Road, 
Brooklyn, N. Y. 

$1 Prize Letters 

Costume Pictures Educational — I am a 

school girl of fifteen and find much enjoy- 
ment in pictures. I like costume pictures 
[Continued on page 73] 

MOVIE CLASSIC urges its read- 
ers to take the floor and present on 
this page their candid opinions of pic- 
tures and stars. Each month MOVIE 
CLASSIC offers these cash prizes 
for the best letters: (1) $15; (2) $10; 
(3) $5; all others published, $1 each. 
The editors will be the sole judges 
and reserve the right to publish all 
or part of any letter received. Write 
your letter now — to MOVIE 
CLASSIC'S Letter Editor, 7046 
Hollywood Boulevard, Hollywood, 


Scene: Twentieth Century Limited, Chicago to New York 

Drawing Room 

"So the great Cherry Chester, 
sweetheart of the screen, is 
on this train. Ugh! Those 
marshmallow- faced movie 
make me sick." 

"H-m-m! Anthony Amber- 
ton, the great novelist, the 
one and only, on this train ! 
Bet they've put the big 
monkey in the baggage car." 

"I would like to see her 
just once . . . perhaps . . . 
no, I must be moon- 

"I wonder what he really 
does look like . . . maybe . . . 
but, no, it's probably that 
silly old moon." 


as Anthony Amberton . . . explorer- 
author, the darling of the women's clubs. 


as Cherry Chester . . . sensational 

young movie star, darling of Hollywood. 

What the "silly old moon" does to two celebrities who yearn for romance in the moonlight 
instead of sensation in the spotlight, is entertainingly told in Paramcunt's "THE MOON'S 
OUR HOME" starring MARGARET SULLAVAN, with Henry Fonda, Charles Butterworth, 
Walter Brennan, Beulah Bondi, Henrietta Crosman . . . Adapted from Faith Baldwin's Cosmo- 
politan Magazine Serial ... A Walter Wanger Production . . . Directed by William A. Seiter 

Movie Classic for May, 1936 

His eyes need plenty of 
good light! For his sake 
use Edison MAZDA lamps, 
,.,they stay brighter longer 

JL oung eyes need more light for studying, 
reading and other close work than middle- 
age or mature eyes. For the strain of using 
eyes in poor lighting can affect not only the 
eyes but the entire nervous system. That's 
why it is so important to provide young eyes 
with good light . . . light from good bulbs 
that stay brighter longer. The General Electric 
monogram (%) on a bulb is your assurance 
of good light ... of sight -saving light ... at 
low cost. Edison Mazda lamps now cost as 

little as 15^ only 20^ for the popular 100- 

watt size. Always ask for these good lamps 
by name . . . buy them by the carton. 

THE G-E "DIME" LAMP. The first real value in a 
10 cent lamp. Comes in the following sizes — 60, 30, 15 
and lyi watts. It is marked like this G E 


Eleanor Whitney, one of Hollywood's most beautiful and most 
talented young stars, welcomes the swimming season — and 
in so doing utilizes many of Alison Alden's beauty hints 

Summer Approaches 

A practical article intended for the 
woman who dreads the beauty problems 
which attend the advent of warm weather 

By &L^^ £&t^ 


THOSE who know what a grand 
"pick-me-up" feeling a spring clean- 
ing gives, wouldn't forego it for the 
world. The season for swimming, ten- 
nis, golf and barefoot-sandaled feet is on 
its way. You'll soon be displaying your 
toe-nails, painted with dazzling polishes, 
on the sands. To paint your nails with- 
out doing something about the super- 
fluous hair on your legs is like locking 
the stable door after the horse has run 

You'll never hear about a Hollywood 
star neglecting this important factor in 
her beauty treatments. She must look 
her best at all times, whether it's on the 
screen or in public or social life. 

I have thrilling news for you about a 
new hair remover which is rapidly be- 
coming a favorite in Hollywood. It 
makes hair disappear before your very 
eyes ! It's made of pure honey — and ac- 
tually smells good enough to eat. It's 
as harmless as a fine face cream and may 
be used on your face, arms and legs. It 
removes hair from below the surface, and 
the growth does not return for several 
weeks . . . and then much lighter and 

This startling new discovery is Daw- 
son's Fragrant Cream. _ Before applying 
it, be sure your skin is clean, dry and 
free from oil, powder and lotions. Smooth 
on the thick, creamy substance— with the 
spatula — in the direction the hair points. 
Press on the strip of cloth inclosed in 
the package firmly, rubbing it a few 
times to be sure it has adhered to the 
cream. Allow no time to elapse in re- 
moving. Grasp the end of the cloth and 
snap it off quickly against the growth 
of the hair, and there you are ! This 

Movie Classic for May, 1936 

product is priced at only $1.00 for the jar 
which contains enough cream for several 
treatments. Isn't it a bargain? 

Decolletage demands flawless backs, 
soft smooth elbows and well groomed 
hands and nails. The woman who would 
always look her best on festive occasions 
will adore the Petite Nail Brush which is 
the new member in the Pro-phy-lac-tic 
brush family. As the name suggests, it's 
a small brush made especially for the 
nails. Its Siberian boar bristles do a grand 
cleansing and whitening job. 

This brush picks up little particles hard 
to remove when cleansing and manicur- 
ing your nails — and is an excellent 
gadget for pushing back the cuticle. It 
comes with colored backs of flamingo, 
jade and black ... an attractive acces- 
sory for your bathroom shelf. The bris- 
tles are black and permanently sealed 
into the handle so they can withstand 
hard usage. Tiny grooves are provided 
at the sides for a convenient hold while 
brushing. And it is priced at only fifty 

If you'd stop to consider your best 
beau's reaction when he is romantically 
inclined and reaches across the table to 
hold your hands — only to find that he has 
touched a piece of stucco with hard cor- 
ners and a dingy appearance — you would 
not continue to think that hand lotion is 
a "seasonal" requisite. 

Your hands are usually in the fore- 
ground and they do have a way of ex- 
pressing your personality. They also 
reveal your pride in personal daintiness. 
You can't possibly go through the sum- 
mer "gloved." Keep your nails well 
manicured — and by all means use your 
hand lotion as [Continued on page 74] 

So Al Jolson, Sybil Jason, The Yacht Club 
Boys, Cab Calloway & His Band, Edward 
Everett Horton, Wini Shaw, Lyle Talbot, 
Allen Jenkins and Claire Dodd Have Joined 
Forces and Voices in a Celebrity- Packed 
Warner Bros. Song Show That Recalls the 
Glories of Al's Immortal "Singing Fool/ 




Al knocks 'cm dead with 'I Love To 
Sing-a', 'Save Me Sister' and other 
torrid tunes by E. V. Harburg and 
Harold ('Stormy Weather') Arlen. 

The King of Swing & his hot band show 
how they do it in Harlem to the tune ol 
Cab Calloway's own new song/You 
Got To Have Hi-De-Ho In Your Soul'. 

'Sonny Boy' in skirts! The world's 
greatest and the world's youngest 
entertainers (orm one of the most 
delightful picture partnerships in years. 

Those Yacht Club Boys, boast of Broad- 
way's and Hollywood's niftiest night 
spots, are musically madder than ever in 
'My! How This Country Has Changed'. 


Girls! Girls! 100's of 'em! bring Harlem 
to Hollywood in lavish dance numbers 
staged by Bobby Connolly, forming a 
gorgeous backdrop for the dramatic 
story which was directed by William 
Keighley for First National Pictures. 

Movie Classic for May, 1936 

- ^ 


"IMati tie 


The lady above made a mistake. A grave 
mistake . . . yet, lots of people make it. 
One day she was constipated, and took a 
laxative. Picked it at random. It happened to 
be a harsh, quick-acting cathartic that raced 
through her system in a couple of hours. It 
upset her. Nauseated her. Sent pains shoot- 
ing through her stomach. Left her weak — 
weary . . . Such drastic remedies should never 
be taken, except on the advice of a physician. 


When you need a corrective, don't make the 
mistake of assuming that all laxatives are 
alike. They're not ! You'll feel a whole lot bet- 
ter when you take a correctly timed laxative. 
One that won't rush through your system too 
quickly. And yet, one that is completely 

Ex-Lax is just such a laxative. It takes suf- 
ficient time — 6 to 8 hours — to work. Hence, 
your system is not thrown "out of rhythm." 
You aren't upset or nauseated. You don't suf- 
fer from stomach pains. Ex-Lax action is so 
mild, so easy, you scarcely realize you've taken 
a laxative — except for the relief you enjoy. 


With Ex-Lax you say farewell to bitter, nasty- 
tasting purgatives and cathartics. Because 
Ex-Lax tastes just like delicious chocolate. 
It's a real joy to take — not a punishment. Get 
a box today — only 10c at any drug store. You'll 
also find a more economical family size for 25c. 

When Nature forgets — remember 




(Paste this on a penny postcard) 
Ex-Lax, Inc., P. 0. Box 170 FG56 

I Times-Plaza Station, Brooklyn, N. Y. 

I want to try Ex-Lax. Please send free sample. I 

■ Name 

J Address 

I Ci 'y Age 

(If you live in Canada, write Ex-Lax, Ltd., 

736 Notre Dame St. W., Montreal) 

L„__ J 


Jesse L. Lasky and 
Mary Pickford 
want a trademark 
for their new pro- 
duction company — 
and offer rich 
prizes for your 
suggestions. Act 
NOW and win 

Jesse L. Lasky, Jacqueline Faye and Mrs. Sarah Lasky 
inspect the floral suggestion for a trademark pre- 
sented by the Los Angeles Chamber of Commerce 

$1,000 For An 

PRIZES totaling $1,000 for a new 
trademark ! That's the sensa- 
tional offer of the newly-organ- 
ized Pickford-Lasky Productions, 
made in co-operation with MOVIE 
and the magazines of the Fawcett 
Publications Screen Group. 

Jesse Lasky and Mary Pickford 
are seeking a trademark which will 
be distinctive and unusual. They of- 
fer you not only a small fortune in 
cash prizes but also the honor of cre- 
ating a studio trademark which will 
be seen for years to come on the 
screens of the world's most important 

You may enter the contest NOW. 
Merely send in a clear exposition of 
your idea. A drawing may or may 
not accompany the description. All 
that is vitally important is to get your 
idea across ! Fancy embellishments 
will not influence the final selections 
of the judges, who are interested only 
in the power of your idea to deliver 

"One of the most effective trade- 
marks in the history of motion pic- 
tures," said Jesse L. Lasky, president 
of Pickford-Lasky Productions, "was 

Movie Classic for May, 1936 

that of the old Mutual Film Company. 
It pictured the face of a clock, with 
the slogan: 'Mutual Movies Make 
Time Fly.' 

"I always liked the design because 
it symbolizes my philosophy of the 
drama. The ceaseless passage of time 
holds the. secret of every story — each 
comedy and tragedy in life. More- 
over, the legend expresses the ideal 
of all entertainment — to make time 

Mr. Lasky's observation unleashed 
a train of reminiscences. He was dis- 
cussing the Thousand Dollar Trade- 
Mark Contest, sponsored by Fawcett 
Publications, Inc., the purpose of 
which is to find a permanent trade- 
emblem that will serve to identify and 
symbolize Pickford-Lasky Produc- 

There was a lull in the shooting. 
Cameras had stopped grinding, lights 
were out ; only the hubbub which at- 
tends changing a set-up was vaguely 
disturbing. Grouped about Mr. Lasky 
were several principals of the One 
Rainy Afternoon cast — Francis Led- 
erer, the star, perched on the edge of 
a grand piano, collar turned up ; Ida 
Lupino, play- [Continued on page 58] 

Dolores Del Rio 

Ever since Hollywood's first experiments with natural color photography, the 
slumberous beauty of Dolores Del Rio has been considered ideal for that 
great new medium. Consequently there is great interest in the announce- 
ment that she will soon be starred in two all-color films by Pioneer Pictures 





lipstick test on the set of "The 
Gentleman from Big Bend ", a 
Warner Brothers Production. 

Read why this 
well known 
movie star 
picked the 
girl with the 
Tangee Lips 

• We presented 
Mr. William to 
three lovely girls 
...One wore the 
ordinary lipstick . . . one, no lipstick . . . and the 
third used Tangee. Almost at once he chose the 
Tangee girl. "I like lips that are not painted- 
lips that have natural beauty!" 

Tangee can't give you that "painted look" — 
because Tangee isn't paint ! Instead by its magic 
color change principle, Tangee changes from 
orange in the stick to the one shade of blush 
rose to suit your complexion. Try Tangee. It 
comes in two sizes, 39c and $1.10. Or for a 
quick trial send 10c for the Special 4- Piece 
Miracle Make-Up Set offered below. 

• BEWARE OF SUBSTITUTES . . . when vou buy 
Don't let some sharp sales person switch you to an imi- 
tation . . . there is only one Tangee. But when you ask tor 
Tangee . . .he sure to ask for tangee natural. There 
is another shade called Tangee Theatrical, but it is 
intended only for those who insist on vivid color and for 
professional use. 

HHHB World's Most Famous Lipstick 



417 Fifth Avenue, New York City 
Rush Miracle Make-Up Set of miniature Tangee 
Lipstick, Rouge Compact, Creme Rouge, Face 
Powder. I enclose 1 0i (stamps or coin) . 1 5i< in Canada. 

Shade □ Hesh □ Rachel □ Light Rachel 

Name , 



Behind-the-scenc news and gossip about 
Filmland's pictures and stars— an up-to- 
the-minute report of the latest happenings 

TALKING with Jeanette Mac- 
Donald the other day, I dis- 
covered that she has the unique 
distinction of having rejected an offer 
from the Metropolitan Grand Opera 
Company. And that, in the case of 
Jeanette, is irony ! 

For years, her one steadfast goal 
has been grand opera. To that end she 
has studied French, Italian, Spanish 
and German. To that end she has ac- 
quired one of the most comprehensive 
repertoires imaginable. To that end 
she has devoted hours every day in 
practice . . . practice . . . practice. 

And, then when the gentlemen who 
rule the Metropolitan finally recog- 
nized her ability and invited her to 
sing La Boheme, she found that her 
picture contracts would not permit 
her to accept. Having finished Rose 
Marie (and what a honey of a picture 
it is!), she was forced to start work 
almost immediately on San Francisco. 
When that is finished, another assign- 
ment is waiting for her. 

But this year, after all, is only one 
year of many. It's a safe bet that 
Jeanette will be singing across the 
Metropolitan footlights next season. 

A Prima Donna's Anniversary 

Speaking of opera stars reminds 


Jeanette MacDonald with the doll 
sent her by young admirers in 
Paris, France. The doll is dressed 
in a replica of one of Jean- 
ette's Naughty Marietta costumes 

Movie Classic for May, 1936 


Eric Ergenbright 

me that Grace Moore is vacationing 
in her villa at Cannes, France. On the 
fourth of June, she is scheduled to 
sing in London's Covent Garden and 
she writes me that that great theatre 
has been sold out for her performance 
for more than six months. She's even 
more popular in England than she is 
here. By the way, did you know that 
she and Valentin Parera, her Spanish 
husband, spend every wedding anni- 
versary in the same Venetian palace 
where they spent their honeymoon? 

A Bonny Rivalry 

It seems, at this writing, that Bette 
Davis and Katherine Hepburn, who 
have vied with one another for two 
successive years for Academy "best 
actress" awards, will be co-stars in 
Radio's soon-to-be-made Mary of 
Scotland. Katherine is already set for 
the role of Mary and Bette is being 
strongly considered for the role of 
Queen Elizabeth. What a battle of 
genius those two will stage . . . and 
how Hollywood's gossips will watch 
for the first sign of friction ! 

Tibbett Returns 

I've just learned, by listening in on 
the old party line, that Lawrence 
Tibbett is going to be starred in The 
Mark of Zorro. Remember when 
Doug Fairbanks, the Elder, made 
screen history with that story? This 
time, however, it's going to be an 
operetta, with Tibbett sending his 
baritone booming over the walls that 
Doug hurdled. And it seems that 
they're having trouble casting a likely 
girl for the feminine lead, so there's 
an elegant opportunity awaiting 
someone . . . [Continued on page 14] 




THIS 1936 version of Edna Ferber's superb story of the 
"SHOW BOAT/' compared with which every production 
of its type pales into insignificance, is characterized by 
REMEMBERED NEW MUSIC, new lyrics plus your old favorites, 
by the masters of melody, Jerome Kern and Oscar Hammer- 
enumerate it s multitude of attractions. It will be a striking 
event in all theatres. 

A CARL LAEMMLE, JR, production — directed by JAMES WHALE, 


Movie Classic for May, 1936 


t's easy to see 

why movie stars insist on 
HOLD-BOBS", says lovely 
Miss Berenice Sheerin. "I 
never dreamed that a mere 
bob pin could make such a 
difference in my hairdress un- 
til I usedHOLD-BOBS in pre- 
paring for my screen test". 

Party Line in Hollywood 

# Miss Sheerin was given a screen 
test recently in the famous Search for 
Talent, sponsored by hold-bob Bob 
Pins, Universal Pictures, Motion 
Picture and Screen Play. 

Miss Sheerin echoes the sentiment of the 
millions of women who use hold-bobs al- 
ways. Hollywood has long known about 
these famous bob pins. No star's dressing 
room is complete without hold-bobs . . . 
And a good makeup man never thinks of 
sending an actress on the set until her coif- 
fure is made "screen proof" with hold-bobs. 

Wherever you are • . . why shouldn't you 
be assured of a hairdress that is just as 
lovely as any screen star's? . . . Use hold- 
bobs — for hold-bobs come in harmoniz- 
ing colors to match every shade of hair; 
their small, round heads are invisible; their 
smooth, round points cannot scratch and 
their flexible, tapered legs, one side crimped, 
hold your hair in place. 

Remember, the credit for most beautiful 
coiffures goes to hold-bobs. 


Sol H. Goldberg, Pres. 

1918-36 Prairie Ave., Dept. F-56 
Chicago, Illinois 

S'.o.ghi Style HOLD BOB 

• Final winners in the 

Search for Talent will be announced 
in the next issue of this magazine. 
ALSO in the next issue will be an 
announcement of a NEW Search 
for Screen Talent ! ! Watch for it!! 

Copyright 1936. by The Hump Hairpin Mfg. Company 

Here's Opportunity 

Which reminds me that all of the 
studios, and Twentieth Century-Fox in 
particular, are complaining that there 
is a serious and unprecedented dearth 
of promising young actresses in Holly- 
wood just now. It seems there are 
plenty of gals with so-so talent, but 
very, very few with those outstanding 
qualities which are necessary for star- 
dom. So . . o . . o, if any of you know 
someone who has a relative who knows 
a studio talent scout, it's time to get 

Hail the Victors! 

At last, the annual awards of the Aca- 
demy of Motion Picture Arts and Sci- 
ences for 1936 ! Bette Davis, by almost 
unanimous vote, wins the award for the 
best performance by an actress for her 
work in Dangerous; Victor McLaglen 
is acclaimed among the actors for his 
amazingly fine character portrayal in 
The Informer; Metro Goldwyn Mayer, 
in the person of Irving Thalberg, wins 
the Golden statue for the "best produc- 
tion" of the year, Mutiny on the Bounty; 
John Ford is honored for his direction 
of The Informer and Hal Mohr's camera 
work in a Midsummer Night's Dream 
wins the award for cinematography. 

Among the actresses, Katharine Hep- 
burn, for her work in Alice Adams was 
rated second; and Elisabeth Bergner, 
for her performance in Escape Me 
Never, was rated third. Paul Muni for 
Black Fury and Charles Laughton for 
Mutiny on the Bounty were given re- 
spectively second and third ranking 
among the actors. Clark Gable and 
Franchot Tone were also given honor- 
able mention for their performances in 

Jeeves, My Racquet! 

The Party Line's been buzzing with 
excited comment about an afternoon 
party given by Donald Ogden Stewart, 
the writer. All the men wore soup- 
and-fish and all the ladies wore very 
formal gowns. And they spent the whole 
afternoon playing tennis. 

Think up something — anything will 
do — that's a little different, and no mat- 
ter how screwy it is, you're a social 
success in Follywood. 

Those Latin Lovers 

Far be it from me to draw conclu- 
sions, but it does seem significant — or 
something— that Cesar Romero, whose 
publicity agents like to compare him to 
Valentino, should be the one to buy 
Rudy's famous old mansion, "Falcon's 

And Another Lover 

Remember Walter Pidgeon, who 
starred in a couple of singies for War- 
ner Brothers about five years ago ? 
Well, Walter's back in Hollywood and 
Paramount is going to co-star him in 
With All My Heart with Joan Bennett 

Astrid Allwyn, who is becoming 
known as the girl of a thousand wigs, 
thanks to the great variety of roles 
which she has played in recent pic- 
tures, compares notes with Herbert 
Mundin at a recent cocktail party 

and Cary Grant. And, just between you 
and me and the printer, Walter should be 
a wow in a picture with a title like that, 
for he frankly admits that he's had more 
love affairs to the square mile than any 
other six actors in the business. You 
ought to hear him tell that one about 
the mysterious brunette in Vienna . . . 
No foolin' you'll like Walter. 

Two-Gun Man 

Gary Cooper tells me that he's spend- 
ing his evenings before a full length 
mirror, practicing the "quick draw" 
with that old frontier model six-gun 
that he toted to fame. And well he may, 
fer stranger, thet thar Gary boy is all 
lined up fer a passel of western pitchers. 
Cecil B. De Mille wants him to play 
"Wild Bill" Hickok in the forthcoming 
super-super, Buffalo Bill — which really 
will be a misnomer since Wild Bill in- 
stead of Buffalo Bill is the hero of the 
show. And after he's finished that role, 
Gary's scheduled to star in three more 
ultra-colossal westerns, the first of 
which will be titled The Texas Ranger. 

The Salary War 

If you read the drama pages of your 
local newspaper, you've probably learned 
that Fred MacMurray staged a one-man 
salary strike. But what you didn't read 
is this : Fred not only won the argument 
but succeeded in getting his weeklv 
stipend raised from $400 to $1000. And 
anybody will tell you he's worth every 
cent he can get. 

The only difficulty, from the studio 
standpoint, is that his success will be a 
"fiery cross" inciting half of the actors 
in town to similar rebellion. 

Ginger Rogers, Composer 

In spite of the rumors that Ginger 
Rogers and Fred Astaire would not 
[Continued on page 69] 


Movie Classic for May, 1936 

Personalities of the Month 

Charles Collins 

HOLLYWOOD looked at the box office reports on Becky 
Sharpe, first Technicolor picture, and decided to for- 
get about color. But producers kept quietly at work. Then 
The Trail of the Lonesome Pine was previewed. It was a 
smash hit — color had triumphed ! 

All eyes then turned to the new all-color film, Dancing 
Pirate, being made by Jock Whitney. It was half completed 
—a great story, against the romantic background of early 
California, filled with, interesting characters, colorful cos- 
tumes, dancing, music. But to Hollywood's astonishment, 
the star was completely unknown to pictures ! 

He is the smiling youth pictured above, tall, graceful as 
a panther, a New York dancer whose itching heels had 
carried him from an Oklahoma plow to the London stage. 
Charles Collins will be your next favorite ; he has leaped 
from screen obscurity to the spotlight of one of the year's 
biggest pictures. To gamble like that with an unknown is, 
at first thought, dangerous — but when you see him in 
Dancing Pirate you'll realize Whitney had a sure bet. 

Collins made his first hit dancing in Artists and Models. 
One stage success followed another, until he joined a show, 
Ripples, with Fred Stone and his dancing daughter, Dorothy. 
They went to London, and there Charles and Dorothy 
were married, in 1931. When discovered for films, they 
were dancing at the Ambassador Hotel in New York. In 
Hollywood they lived quietly with their famous "daddy," 
Fred Stone, and Paula Stone. They are Hollywood's hap- 
piest and most congenial family. 

Dancing Pirate is the story of a Boston dancing master 
who is "Shanghaied" and taken around the horn to Cali- 
fornia. The crew turn pirates and raid a California village. 
Charles Collins is captured and sentenced to hang, but the 
daughter of the village judge induces the authorities to let 
him live" long enough to teach her how to dance. As you 
may guess, the dancing lessons never end. 

June Lang 

AS June Ylasek, a blonde, she found her career at a 
- standstill ; as June Lang, a brunette, she is skyrocket- 
ing to stardom. During the past year, she has played 
leading roles in Captain January, Every Saturday Night 
and The Country Doctor — and played them with such abil- 
ity that she is now rewarded with the leading role, opposite 
Fredric March and Warner Baxter, in Zero Hour, a 
Twentieth Century-Fox "super" production. 

Her parents moved from Minneapolis to Los Angeles 
when she was a six-year old and enrolled her in the famous 
Meglin Dancing School — the same school, by the way, 
which is the alma mater of Shirley Temple. 

In 1930, June appeared with the Meglin Kiddies on the 
stage of a Los Angeles theatre and, as luck would have 
it, an executive of the Fox Studios was in the audience. 
Impressed by her beauty and ability, he lost no time in 
placing her under contract. 

During the next three years, she appeared in ingenue 
roles in a number of pictures. Hollywood prophesied a 
brilliant future for her, but, for some unknown reason, the 
prophesy was premature. Her career entered the doldrums 
which have claimed man}- a promising screen personality, 
and for nearly a year she was virtually forgotten. 

It remained for Darryl Zanuck to "re-discover" her 
when he assumed control of Twentieth Century-Fox Studios 
last fall. At his suggestion, she changed her name and 
the color of her hair and . . . presto ! . . . behold another 
Hollywood miracle ! With the completion of her current 
assignment, which promises to be one of the most important 
pictures of the year, she will be safely established. 

Born in Minneapolis in 1915, she is of Bohemian and 
Swedish descent. Strangely enough, in view of her own 
ambition to become a great dramatic actress, none of her 
family has ever been connected with the theatre. 



The modern girl doesn't decline an 
invitation just because of the time of 
month! She knows how to keep going, 
and keep comfortable — with Midol. 
For relief from painful periods, this is 
all you have to do : 

Watch the calendar. At the very 
first sign of approaching pain, take 
a Midol tablet and drink a glass 
of water, and you may escape the 
expected pain altogether. If not, a 
second tablet should check it within 
a few minutes. 

Midol's relief is lasting; two tablets 
should see you through your worst 
day. Yet Midol contains no narcotic 
and it forms no habit. But don't be 
misled by ordinary pain tablets sold 
as a specific for menstrual pain! 
Midol is a special medicine, offered 
for this particular purpose. 

You will find Midol in any drug 
store, it is usually right out on the 

So, look for those trim, aluminum 
boxes that make these useful tablets 
easy to carry in the thinnest purse 
or pocket. 


in Smart New 


Elsa Buchanan Favors Plaits 

Here's an exciting little Chinese-red sheer 
print silk dress dotted all over in white. 

The plaits of the slim skirt go all the way 
around the back. The straight collar ties in a 
scarf. It has plain red crepe trim at the edge 
to match the belt. The sleeves have the new 

It's a plaited model that is universally be- 
coming to women of all types. It's simple to 
fashion. You can make it at an enormous 

Style No. 925 is designed for sizes 14, 16, 
18 years, 36, 38 and 40-inches bust. 

The Softer Type Suit 

Here's Sally Eilers' choice in the softer 
type dressmaker suit, reminiscent of the gay 
nineties. It answers for varied occasions. 

The nipped-in waistline jacket has a high 

MOVIE CLASSIC'S Pattern Service, 
Fawcett Bldg., Greenwich, Conn. 

For the enclosed cents, please send 

me Elsa Buchanan Pattern No. 925 — Sally 
Eilers Pattern No. 926 (circle style desired). 





Patterns, 15c each 

Canadian readers may order by mailing cou- 
pon to MOVIE CLASSIC'S Pattern Service, 
133 Jarvis St., Toronto, Canada. 

Movie Classic for May, 1936 

lapel neckline, 
caught with a 
boutonniere. The 
short sleeves create 
the broad shoulder 
effect. The skirt fits 
very slimly over the 
hips, and hangs with 
a decided flare. 

Navy and hya- 
cinth-blue crepe 
combine very effec- 
tively in this darU 
ing costume. 

Shantung in na- 
tural shade or dusty- 
pink tub silk is another 
this simple to sew suit. 

Style No. 926 is designed for sizes 14, 
18 years, 36, 38 and 40-inches bust. 

Pattern price 15 cents each. 



who want a 
lovely skin- 
'se my beauty care 


IGinger Rogers 




Don't run the risk of clogging your pores! 
I avoid COSMETIC SKIN this way". . . 

• It's when stale powder and rouge choke your pores that 
Cosmetic Skin develops — dullness, blemishes, enlarged pores. 
Use cosmetics? Ginger Rogers does. "But," she says, "I 
remove every trace of stale make-up with Lux Toilet Soap." 
Clever girls use this ACTIVE-lathered soap before they put 
on fresh make-up — always before they go to bed. "Lux 
Toilet Soap keeps skin smooth, flawless," says Ginger Rogers. 

Movie Classic for May, 1936 



Now Wins 18 -Year Fight! 

this advertisement is based on an 

'actual experience reported in an 

* . o f a 9 v \f(jtjolicited letter. Subscribed 

- •- i^ind sworn to before me. 


leal facts — not claims — make 
up the true experience told above. For this 
intimate letter is one sufferer's actual story, 
taken from just one of the hundreds of 
voluntary reports telling how this pleasant, 
palatable yeast brought welcome relief after 
years of failure with other remedies. 

You, like these hundreds, can end slavery 
to cathartics with Yeast Foam Tablets. 
There's no irritation, no violent flushing. A 
food rich in needed tonic elements, Yeast 
Foam Tablets strengthen the digestive sys- 
tem naturally and stimulate sluggish intes- 
tines to normal healthy action. Constipation 
headaches and other symptoms go — your 
skin glows, pep returns, and you feel the 
surging energy of health again. 

Ask your druggist for Yeast 
Foam Tablets today. A nd ac- 
cept no substitute. Send for 
Free Sample. 

1750 N. Ashland Ave., Chicago, 111. 

Please send free introductory 
package of Yeast Foam Tablets. f.G. 5-36 









Ann Shirley (below) wears 
a carmel lace frock de- 
signed by Letty Lee for 
ritzy tea-parties. Right: 
Mona Barrie chooses a J 
smart grey georgette J) 
crepe L e 1 1 i e Lee 
model suitable for 1 
luncheon dates. 


Movie Classic for May, 1936 

Leltie Lee, noted Film- 
land costume de- 
signer, presents cos- 
tumes appropriate 
for those three distinct 
P.M. programs- lunch- 
eon, tea and dancing 

DAME Fashion is particularly feminine 
this spring! 

This is according to Lettie Lee, famous 
Hollywood costume designer, whose 
gowns are worn by many a star. 

"Femininity, spelled with a capital 'F.' 
has come into its own!" she declares. 
"Frills and furbelov/s are here in a big 

"However, never forget one thing," 
she adds — this: "Don't overdo this busi- 
ness of being feminine!" 

It is better, she thinks, to be a little 
too simply than a little too fancily 

This Lettie Lee Dancing 
frock, worn by Joan Marsh, 
embraces the new vogue 
for white, also for frills 

ow..^ /avtJue/? uuiis to avoid 


are so 

when you bathe with this lovely scented soap! 

First it brings sweet cleanliness . . . 
this exquisite Cashmere Bouquet 
Soap! Its rich, deep-cleansing lather 
leaves no chance of unpleasant body odor. 

Then, its lovely, flower-like perfume 
lends you added glamour. It lingers about 
you long after your bath . . . gives you the 
fragrant daintiness men find so adorable. 

Use this pure, creamy-white soap for 
your complexion, too. Its generous lather 
is so gentle and caressing. Yet it goes 
down into each pore and removes every 
bit of dirt and cosmetics . . . keeps your 
skin radiantly clear, alluringly smooth. 

And now Cashmere Bouquet costs only 
10p a cake. The same long-lasting soap 

which for generations, has been 25^. Ex- 
actly the same size cake, scented with the 
same delicate blend of 17 costly perfumes. 

Cashmere Bouquet Soap is sold at all 
drug, department and 10f$ stores. 

NOW ONLY JO* ihe fptmeA 1$$ ■Ute 




Movie Classic for Alav, 1936 


| his story 

" will interest 
many Men and Women 

NOT long ago I was like some friends I 
have . . . low in spirits . . . run-down . . . 
out of sorts . . . tired easily and looked ter- 
rible. I knew I had no serious organic trou- 
ble so I reasoned sensibly. . .as my experi- 
ence has since proven. . .that work, worry, 
colds and whatnot had just worn me down. 

I had been listening to the S.S.S. Radio 
Program and began to wonder if my trou- 
ble was not lowered strength in my blood. . . 
I started a course of S.S.S. Tonic Treat- 
ment. . .at the end of ten days I noticed a 

change I followed directions faithfully. . . 

a tablespoonful before each meal. 

The color began to come back to my skin 

I felt better. . .1 did not tire easily and 

soon I felt that those red-blood-cells were 
back to so-called fighting strength. 

The confidence mother has always had in 
S.S.S.. . .which is still her stand-by when 
she feels run-down . . . convinced me I ought 
to try this Treatment. . .it is great to feel 
strong again and like my old self. 

Much more could be said... a trial will 
thoroughly convince you that this way, in 
the absence of any organic trouble, will start 
you on the road to feeling like yourself 
again. You should soon enjoy again the sat- 
isfaction of appetizing food... sound sleep 
. . . steady nerves ... a good complexion . . . 
and renewed strength. 

There is no guess work in the S.S.S. Tonic 
Treatment. . .decades of popular accept- 
ance and enthusiastic words of praise by 
users themseh r es speak even louder than 
the scientific appraisal of the progressively 
improved S.S.S. product which has caused 
millions to say to their friends — 

Makes you 

feel like 



© S.S.S. Co. 


Kay L i n a k e r, 
Warner Brothers 
featured player 
(above) chooses 
a two piece hand- 
knitted o u t f i t 
stressing the pop- 
ular waffle-weave 

It is not too late to enter MOVIE CLASSIC'S great 
knitting contest and win a free trip to Hollywood .... a 
whirlwmd, exciting vacation in the Cinema Capital where 
the editors of MOVIE CLASSIC and the stars of the great 
Warner Brothers-First National Studios will be your hosts 

Movie Classic for May, 1936 

Win a Free Trip 
to Hollywood! 

'pHIS is your last opportunity to enter MOVIE 

CLASSIC'S most unusual contest. 

By following a few simple knitting instructions, 
you can dress like a star. And, at the same 
time, you can win an absolutely free trip to 

MOVIE CLASSIC— in conjunction with MO- 
TION PICTURE Magazine, Warner Brothers- 
First National Pictures and the manufacturers of 
Eleisher, Bear Brand and Bucilla yarns — gives 
you this remarkable chance of a lifetime. 

All that you have to do to be eligible for a 
free trip to the movie capital is to knit, for your- 
self, one of the many attractive dresses modeled 
by a Warner Brothers-First National star. You 
will find three of these dresses illustrated on page 
fifty-one of this issue — and from any store selling 
Fleisher, Bear Brand or Bucilla yarns, you can 
SIC Knitting Instruction Book, which contains 
full instructions for knitting these and many other 
attractive dresses. 

The prizes and rules are listed below. 


The sponsors of this great nationwide knitting contest 
offer these fourteen' valuable prizes: (1) One railroad trip 
with all expenses paid, to Hollywood and return; (2) one 
airplane trip from New York to- Hollywood, or Hollywood 
to New York, value $288: (3) Mendoza heaver coat value 
$100; (4) Tavanre wrist watch, value $100; (5) one year's 
supply of shoes (A. C. Lawrence), value $75; (6) one 
hand-hooked rug (Fleisher). value $75; (7) one hand- 
made Afghan (Bemhard-Ulmann Co.). value $75; (8) and 
(9) one year's supply of Mojud Clari-phan© silk stockings 
—each supply valued at $54; (10) one year's supply of 
Lentneric Perfume and Cosmetics, value $50.70; (11) eve- 
ning ensemble of Coro Pearls (Colin and Rosenberg) con- 
sisting of necklace and bracelet to match, value $50; (12) 
one year's supply of Maiden Form brassieres and girdles, 
value $o0; (13) one Gruen wrist watch, value $50: (14) 
one year's supply of Corday perfume (Voyage a Paris), 
V3JU6' $32. 50, 


1. To compete in this contest, you may knit any gar- 
rncnl : pictured on the opposite page or in the MOTION 
PICTURE-MOVIE! CLASSIC Knitting Instruction Book. 

2. This instruction book may be obtained in any de- 
partment store selling Fleisher. Bear Brand or Bucilla 
yarns. The price of the book is 25c. 

, Z -! nr J he ccmt est opens February 1, 1036, and closes May 
1, 10,-io. 

4. The garment that you knit will be your entry in the 
com est— and it will he judged solely for quality and work- 
manship, by the nationally famous women named below. 

5. The prizes will be as listed' at left. 

6. At any time between April 1 and May 1, 1931) wrap 
your entry carefully and mail it parcel post, insured to 
Knitting Contest Editor, 20-22 Greene St.. New York 
City, enclosing stamps for its return to you bv parcel post 
insured. Every dress will be returned. The sponsors of 
this contest will not be held 1 liable in case of loss or 
damage to the garment submitted, but will take- every rea- 
sonable precaution to return it safely. 

7. All entries must be accompanied by all the bands 
from Fleisher. Bear Brand or Bucilla yarns used in knit- 
ting your garment, or by facsimiles of the bands.' 

8. Before sending your garment as an entry in the con- 
test, you must reserve space for it by mailing the applica- 
tion blank (or facsimile) printed below. This does not 
obligate you to send a garment later. It merely reserves 
space for your garment, if you do send' one. 

0. In case of ties, duplicate prizes will be awarded. 

10. Among the judges are: Mrs. James Roosevelt, the 
President's mother, Grand Duchess Marie, Tobe, fashion 
St. ,,&, .Miss /Winifred Ovitte, fashion authority, and 
5KS= ,. w i 1Ua . m w - Hoppin, society leader. Their decision 
will be final. 

11. This contest is open to everyone except employees 
or relatives of employees, of Motion Picture Publications 
Inc. Fawcett Publications. Inc., Warner Brothers-First 
.National Pictures, and the manufacturers of Fleisher, Bear 
Brand and Bucilla yams. 

Application Blank 

Knitting Contest Editor 
20-22 Greene Street 
New York City 

I would like you to know that your knitting contest interests 
me and that I am likely to submit an entry. In case I do I 
wish you would reserve space for my entry — putting me un- 
der no obligation in any way. whether I try for a trip to 
Hollywood or not. 


Phil Regan and 

Evalyn Knapp in 

"Laughinc Irish Eyes," 

a Republic Picture 


/cm j/wittfatiei/i fa* 



SPARKLING, LAUGHING EYES . . . eyes that say more 
than words can ever express . . . are the eyes that fascinate 
men, that invite romance. 

Now, every girl can have eyes that sparkle . . . eyes that 
radiate life and beauty. Just a touch of Winx Mascara 
to the lashes and instantly they appear darker, longer, 
and more lustrous. It works wonders — brings out the natural 
beauty and charm of your eyes — enlivens your whole 

Once you try Winx you readily understand why so many 

smart, well-groomed women use Winx regularly for both 

daytime and evening make-up. You will like the way its 

^ emollient oils keep your lashes luxuriantly soft at all times. 

Winx Mascara is offered in four colors — black, brown, blue, 
and green — and in three convenient forms — the new Creamy 
Winx (which is gaining in popularity every day), and the old 
favorites, Cake Winx and Liquid Winx. All are harmless, 
smudge-proof, water-proof, non-smarting, anfl easy to apply. 

Your local drug and department stores carry Winx Mascara 
in the economical large size. You can also obtain the com- 
plete line of Winx Eye Beautifiers in Introductory Sizes at 
all 10^ stores. 

o il) I NX 

Movie Classic for May, 1936 




OW you can enjoy the thrill of a beau- 
tifully moulded silhouette in the comfort 
found only in two-way stretch Lastex. 

By its clever double knitted panel 
"Princess Chic" gives double support 
where it's needed most: in front, in back 
and at sides. Controls and shapes nat- 
urally, without even the suggestion of a 
bulge to mar the smooth fashion-right 
lines you are seeking. Lace brassiere is 
uplift and flattering. 

The '"Princess Chic" Foundation il- 
lustrated $4. With satin Lastex and 
lace brassiere $3.50. Girdles are $2 
and $2.50. Shaped Panties $2.50 

You should find "Princess Chic" and 
other beautiful Foundations, Girdles and 
Brassieres Styled by Hickory at your 
favorite Corset Department. If not — write 
for FREE descriptive brochure. Address 
1143 West Congress St., Chicago, Illinois 


The Show 

Unbiased reviews of the 
latest and most impor- 
tant screen offerings 


earth, beautifully handled drama which will 
appeal to every audience and long be re- 
membered as a screen masterpiece. The 
Dionne quintuplets, as lovable as they are 
famous, fully justify the vast amount of 
money spent to use them in the picture. But 
do not consider this a film merely intended 
to exploit the quints, for they are of sec- 
ondary importance to the well-developed, 
exceedingly human story. Jean Hersholt, 
in the title role, gives a flawless perform- 
ance. June Lang and Michael Whalen are 
satisfactory as the lovers. Slim Summer- 
ville, John Qualen, Aileen Carlyle and 
George Chandler head the remarkably cap- 
able supporting cast. Twentieth Century- 

dramatic life of America's greatest show- 
man, this truly remarkable picture is un- 
doubtedly one of the outstanding screen- 
offerings of this or any other year. And 
it is entertainment supreme, for it captures 
the spirit of the gay, swirling, pleasure mad 
life along Broadway and the glamour and 
excitement of "show business." William 
Powell, in the title role, gives an amazing 
performance, the best of his career. Luise 
Rainer, as Anna Held, and Myrna Loy, as 
Billie Burke share acting honors. From 
every standpoint, this is the screen at its 
best, offering comedy, pathos and drama. 

umph for everyone concerned, particularly 
for Freddie Bartholomew, who sets a new 
standard for juvenile actors; for C. Aubrey 
Smith, as the boy's irascible grandfather ; 
and for Dolores Costello, whose "come- 
back" performance as Lord Fauntleroy's 
mother is the best in her entire career. Any 
prejudice which may have been created by 
our American use of "Lord Fauntleroy" 
to describe a sissified boy, will find no 
fodder in this masterly production. Little 
Lord Fauntleroy is a normal, lovable kid 
and his adventures provide moving drama 
and hilarious comedy. Twentieth Centurv- 

With this grand old drama of feudal war- 
fare in the Kentucky hills, natural color 
has arrived. Filmed in the pine forests of 
the Sierras, every scene possesses breath- 
taking beauty and complete color natural- 
ness. Without its great story, this picture 
would be a screen event ; with its tre- 
mendous drama and the superb perform- 
ances of the cast, it is easily the most im- 
portant production of the year. Sylvia 
Sidney, Fred Stone, Fred Mac Murray, 

Movie Classic for May, 1936 

Joyce Kay, Warner Baxter and Gloria 
Stuart in The Prisoner of Shark Island 

Henry Fonda and Sylvia Sid- 
ney in the natural color picture, 
Trail of the Lonesome Pine 

William Powell and Luise Rainer 
vie for "best performance" 
laurels in The Great Ziegfeld 

Henry Fonda and little Spanky McFarland 
head the cast and their work is brilliant. 
This is the one "must see" offering of 
the month. W anger-Paramount. 


THESE THREE — A mature drama, based 
on Lillian Hellman's stage play, The Chil- 
dren's Hour. In the adaptation for the 
screen, all trace of censorable material has 
been removed and the result is consummate 
entertainment. Merle Oberon, Miriam 
Hopkins and Joel McCrea are co-starred — 
but the acting laurels must be awarded to 
two children, Bonita Granville and Marcia 
Mae Jones. United Artists. 

licking musical, crammed with tuneful 
songs, clever dance routines and really 
hilarious comedy. Harry Richman, of New 
York stage fame, and Rochelle Hudson are 
co-starred, and Walter Connolly and 
Lionel Stander head the supporting cast. 
Recommended fare for family consumption. 

comedy of the "It Happened One Night" 
brand and very little short of that same 
standard. Carole Lombard has never given 
a better performance and Preston Foster, 
hitherto deprived of an opportunity to dis- 
play his talent for comedy, will win a new 
host of fans. If you like to laugh, put this 
film on your "must see" list. Universal. 

GENTLE JULIA— Jane Withers estab- 
lishes herself as "tops" among the screen 
kiddies with the best performance of her 
career in this enchanting, whimsical page 
from the heart of childhood. Booth Tark- 
ington wrote the story and the millions 
who have read and loved the book will find 
it brought to life in this picture. Tom 
Brown, Marsha Hunt, Jackie Searl and 
Jackie Hughes highlight the excellent sup- 
porting cast. Twentieth Century-Fox. 

tended as a "Class B" picture, this western 
drama relating the story of three desper- 
adoes who face certain death to save the life 
of a baby, surprised even its producers by 
emerging as "Class A" fare which will ap- 
peal to every audience. Lewis Stone, Ches- 
ter Morris and Walter Brennan head the 
cast and contribute sterling work. Metro- 
Goldzvyn- Mayer. 

— Grim, realistic drama, based on the true 
life story of Dr. Mudd, who for unknow- 
ingly aiding the assassin of Abraham Lin- 
coln, was entombed in the notorious fed- 
eral prison on "Shark Island." If you are 
easily affected by scenes of cruelty, you 
will be revolted by this picture. But, see it 
in spite of that, for, thanks to the great 
work of director and cast, it is an artistic 
masterpiece. Warner Baxter, the star, has 
never been so effective. Gloria Stuart, 
Claude Gillingwater, Arthur Byron, John 
Carradine and Harry Carey are outstand- 
ing in important roles. Twentieth Century- 

Astaire-Ginger Rogers song and dance fes- 
tival — not their best, but grand entertain- 
ment, nevertheless. In this one, Astaire 
proves himself as good a comedian as he 
is a dancer, and Ginger Rogers proves her- 
self as good a dancer as she is a comedienne. 
Harriet Hilliard, a newcomer from radio, 
comes within an ace of stealing top honor 
with her beauty and singing. Credit Ran- 
dolph Scott with his best performance to 
date. RKO-Radio Pictures. 



You May Think It is No.l When It Really 
is No. 3; Or No. 2 Rather than No. 4 

The Wrong Shade of Face Powder 

Will Make You Look Years Older 

Than You Really Are! 


x=J^c^] Cd£*te/i* 

Are you using the right shade of face powder 
for you? 

That sounds like a rather needless question, 
doesn't it? For there is nothing a woman selects 
more confidently than her color of face powder. 
Yet, it is an actual fact, as artists and make-up 
experts will tell you, that many women use alto- 
gether the wrong shade of face powder. 

The shade they so fondly believe makes them 
look their youngest and most attractive does 
just the opposite and makes them look years 
older than they really are! 

Brunettes think that because they are bru- 
nettes they should use a dark shade. Blondes 
think they should use a light shade. Titians 
think they should use something else. 

Choose by Trying 

The fact is, you shouldn't choose a face 
powder shade according to your "type" or 
coloring, but according to which one is 
the most becoming for you. After all, a 
brunette may have a very fair skin while 
a blonde may have a dark or olive skin 
or any shade between. The only way to 
tell, therefore, is to try all five shades 
which, experts agree, accommodate all 

So fundamentally sound is this principle that 
I want you to prove it to yourself at my expense. 
I will therefore send you all five shades of my 
Lady Esther Face Powder free of charge and ob- 
ligation. When you get the five shades, try all five 
on. Don't think that your choice must be con- 
fined to any one or two shades. As I say, try on 
all five. Maybe the very shade you think least 
suited to you is really your most becoming, your 
most flattering. 

Stays on for 4 Hours 

When you make the shade test of Lady Esther 
Face Powder, I want you to notice, too, how 
smooth this face powder is — how evenly it 
goes on and long it holds. By actual test, you 
will find this face powder adheres for four 
hours or more. 

Write today for all five shades of Lady Esther 
Face Powder which I offer free. With the five 
shades of Lady Esther Face Powder I will also 
send you a 7-day tube of Lady Esther Face 
Cream. The coupon brings both the powder 
and cream. 


(You canpaste this on a penny postcard.) (22) 
Lady Esther, 2030 Ridge Avenue, Evanston, Illinois 

Please send me by return mail a liberal supply of all five 
shades of Lady Esther Face Powder; also a 7- day supply of 
your Lady Esther Four-purpose Face Cream, 




(If you live in Canada, write Lady Esther, Ltd., Toronto, Ont.) 

Movie Classic for May, 1936 




The Choice of Fastidious Women 

Of course you want the finest eye cosmetics that 
money can buy. It is generally accepted that Maybell- 
ine mascara has advantages not found in others. This 
pure and harmless eyelash darkener is preferred by 
discriminating women the 
world over, not only 
because it is pos- 
itively non-smart- | 
ing and tear-proof, J 
but because it gives 
the most naturalap- 
pearance of long, 
dark, lustrous lashes, 
instantly... eye make- 
up done in good taste. 
Maybelline Mascara's v """' 
pure oil base does for your 
lashes what no ordinary mas- 
cara can do ... it keeps them 
soft and silky! Always neat, 
compact, and easy to use, it 
comes in a beautiful red and 
gold metal vanity case, for just ' 
75c, at all leading drug and «| 
department stores. Refills for 
this case are only 35c. Try it 
today... you'llbe de- 

Generous introductory 

sizes of all Maybelline Eye Beauty 

Aidsmay be had at leading 10c stores 





The Show Window 

spite its sensational title, this clever comedy 
drama, co-starring Clark Gable, Jean 
Harlow and Myrna Loy, hasn't an objec- 
tionable scene or line of dialogue. The plot, 
hinging on a wife's natural resentment of 
a too-attractive secretary, builds to a 
smashing climax. The three principals 
are at their best. Metro-Goldzvyn-Mayer. 

DESIRE — Marlene Dietrich and Gary 
Cooper, co-starred in this sexy story of a 
jewel-thief who gives up her trade for love, 
dwarf the story with brilliant performances. 
Dietrich, in particular, shows vast improve- 
ment. She is less languidly decorative than 
usual and handles both her dramatic and 
her humorous scenes with great skill. This 
picture cannot be recommended for children, 
but it will please sophisticated adult audi- 
ences. Paramount. 


with operatic arias and handicapped by a 
creaky plot, this musical drama, co-starring 
Gladys Swarthout and Jan Kiepura, is a 
distinct disappointment, which can be 
recommended only for confirmed music 
lovers. Gladys Swarthout deserves a better 
vehicle. Paramount. 

HELL-SHIP MORGAN— Red-blooded, 
he-man drama with the tuna fishing indus- 
try as a colorful background. Ann Sothern. 
George Bancroft and Victor Jory are ex- 
cellent, the story is convincing if melo- 
dramatic and the picture, as a whole, is one 
of the best of its type. Columbia. 

Despite a weak story, this drama of inter- 
national intrigue and espionage, is better 
than average entertainment. Phillips 
Holmes, Mae Clarke, Irving Pichel and 
Rosita Moreno have the principal roles. 

Barrymore and Eric Linden, the co-stars 
of Ah, Wilderness, are teamed again in 
this down-to-earth, homey little drama. Un- 
pretentious, but always entertaining, it 
tells of a man's love for a dog and his re- 
sentment when the dog is killed. Laid 
against a background of the rural South. 
the picture possesses great charm. Both 
Barrymore and Lindin are excellent and 
Maureen O' Sullivan contributes a nice bit 
of work. Metro-Goldzvyn-Mayer. 

Karloff stars in a horror-film, this time in 
the role of a man unjustly executed for 
murder, whose spirit returns to exact 
vengeance. Those with an appetite for 
grisly chills will acclaim this picture, des- 
pite the many confusions of its plot. Warner 

BOULDER DAM— Loaded with spectacu- 
lar scenes and deftly balancing clever hu- 
mor against heavy drama, this picture, with 
its colorful background and capable cast, 
has great entertainment value. Patricia 
Ellis, Ross Alexander and Lyle Talbot 
have the leading roles. It is interesting to 
note that many of the scenes show actual 
construction work on the great Boulder 
Dam project. Warner Brothers. 

YOU MAY BE NEXT— A well contrived 
thriller, crammed with suspense, and offer- 
ing a novel plot which hinges on the scheme 

Movie Classic for May, 1936 

Marlene Dietrich and John Hal- 
liday in Desire. Gary Cooper 
is co-starred in the picture. 

Dolores Costello and Freddie 
Bartholomew as mother and son 
in Little Lord Fauntleroy 

Ginger Rogers and Fred As- 
taire in their latest song and 
dance-fest. Follow the Fleet 

Merle Oberon and Joel McCrea are 
co-starred with Miriam Hopkins in 
United Artists' These Three 

of racketeers to extort money from radio 
broadcasters. Lloyd Nolan, Ann Sothern, 
Douglas Dumbrille, John Arledge and 
Berton Churchill head the cast. Columbia. 

DESERT GOLD— For the third time Zane 
Grey's thriller reaches the screen and this 
time it emerges as an exceptionally good 
western — a picture which, in many theatres, 
will prove a more popular offering than 
the more sophisticated "supers." Buster 
Crabbe, Robert Cummings, Tom Keene and 
Marsha Hunt head the cast. Paramount. 

LANDED — Lew Ayres returns to the 
screen in this unusually entertaining melo- 
drama of the U.S. Marine Corps. A good 
story, laid in war-torn China, good direc- 
tion and excellent performances by Lew 
Ayres, Isabel Jewell and Jimmy Ellison 
lift this picture above its intended class. 

Everett Horton, Peggy Conklin and Laura 
Hope Crews in a delightful domestic com- 
edy that without striving for effects pro- 
vokes a steady barrage of chuckles. The 
story hinges on the efforts of a meddlesome 
relative to break up a happy marriage. 
Peggy Conklin has great screen possibili- 
ties. Paramount. 

With the motion picture studio as back- 
ground and professional pealousy as the 
motivation, this novel "whodunit" thriller 
is top-notch entertainment. Particularly in- 
teresting are the scenes which show a pic- 
ture company at work in a modern studio. 
Reginald Denny, Frances Drake, Gail 
Patrick, Rod La Rocque and Conway 
Tearle head the cast. Paramount. 

SNOWED UNDER— Smart and some- 
times hilarious comedy, brilliantly played 
by George Brent, Genevieve Tobin, Frank 
McHugh, Glenda Farrell, Patricia Ellis and 
Porter Hall. The story hinges on the 
complications of a much-divorced author 
"snowed under" by his alimony bills. 
Warner Brothers. 


-MESSAGE TO GARCIA— Rather unbe- 
lievable melodrama which hinges on the ef- 
forts of an American officer during the 
Spanish-American war to deliver a mes- 
sage from the President of the United 
States to the Cuban forces. John Boles, 
Barbara Stanwyck and Wallace Beery 
labor tirelessly to make their roles con- 
vincing but the story's flaws, creaky dia- 
logue and ineffective backgrounds combine 
to form a grievous handicap. Tzventieth 

ROAD GANG — Morbid, grim and depress- 
ing, this picture is really a preachment thin- 
ly disguised as entertainment. It attempts 
to condemn prison conditions by showing 
scenes of unwarranted brutality and torture, 
and, in doing so, exaggerates too obviouslv. 
Donald Woods, Kay Linaker, Carlyle 
Moore, Jr., and Henry O'Neill head the 
cast. Warner Brothers. 

other "whodunit," this time offering a 
newspaper columnist as the one-man de- 
tective force who solves an un-solvable 
murder mystery and brings a Dig-shot 
gangster to justice. Marion Shilling, 
Ralph Forbes and Malcolm McGregor are 
featured. Puritan. 

3 have . . . 


9 INCHES with tL 

Perfolastic Company 
...and sent for FREE 

"They allowed me to 
wear their Perforated 
Girdle for 10 days 
on trial". 

"The massage-like 
action did- it . . . the 
fat seemed to have 
melted away". 

"In a very short time 
I had reduced my hips 
9 INCHES and my 
weieht 20 pounds" 




S IN IV OR won't cost you one penny! 

V\7E WANT YOU to try the 
VV Perfolastic Girdle and Uplift 
Brassiere. Test them for yourself 
for 10 days absolutely FREE. Then 
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Reduce Quickly, Easily and Safely! 

• The massage-like action of this 
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Ventilated ... to Permit the 
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• And it is so comfortable! The venti- 
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the Perfolastic is a delightfully soft, satin- 
ized fabric, especially designed to wear 
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irritation, chafing and discomfort, keep- 
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Don'tWait Any Longer . . . Act Today! 

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TEST ...the 


. . . at our expense ! 



Dept. 75, 41 EAST 42nd ST., New York, N. Y. 
Please send me FREE BOOKLET describing 
and illustrating the new Perfolastic Girdle and 
Brassiere, also sample of perforated rubber and 
particulars of your 10-DAY FREE TRIAL OFFER. 



City State 

Use Coupon or Send Name and Address on Pen ny Post Card 

Movie Classic for May, 1936 



Beery's lovable villainy 

was never so uproarious! 

Wallace Barbara 







Presented by Joseph M, Schenck 

Suggested by Elbert Hubbard's Immortal Essay 

and the Book by Lieut. Andrew S. Rowan 

Associate Producer, Raymond Griffith • Directed by George Marshall 


Movie Classic for May, 1936 






"'- ye*M 


* XsPT XX- -^ 



Illustrated by Jay Sweet 

Errol Flynn's Dramatic Life 


of Romance/ 


THE BIG stoker spat out a tooth. 
"I'm coming back and kill you !" he swore through 
pulped lips. 
"Very well, old boy," calmly answered the young Irish- 
man. "I shall be here for twenty-four hours. Drop in any 

Heavy laughter greeted this from the men standing at the 
bar. Even the kanaka waiter who was picking up fallen 
tables grinned. The big stoker glared about him viciously 
and lurched through the bamboo doors, a stream of ugly 
profanity mixing with the blood that trickled from his mouth. 
A glossy Alsatian shepherd dog crept from behind the 
bar and slipped his head affectionately on the Irishman's 
knee. The rubicund publican, whose eyes had seen things 
that belied his jovial face, swept a cloth over the bar before 
speaking with measured words. 

"Nice hound you got there, younker !" 
"Greedy devil," commented the boy comfortably. 
"Think he's worth gettin' killed over ?" 
"I sha'n't be killed," came the positive answer. His 
humorous blue eyes were cold as a winter sky as he looked 
straight at the bland purveyor of beer and rum. The latter 
shrugged eloquently and moved off to answer an insistent 
clamor for a pint of stout. 

A bearded gentleman in a tropical helmet smiled and 
crossed negligently to the boy's table. With the faintest 
suggestion of a bow he spoke. 

"My name's Biennsen. Just out from the bush — rock- 
tapping up Sepik way." 
"I'm Errol Flynn." 

They shook hands. "Glad to meet you, Flynn. Tomor- 
row might have been too late," he added significantly. 

Flynn snorted, grinned, "What should I say? 'Te 
moritamur salutamus', isn't it?" 

"You look a bit young for the salute of death, lad. Why 
not come up country with me? I'm leaving when the moon 
comes up. Fewer mosquitoes." 

Six-foot-two of tempered bone and muscle snapped erect. 
"Sorry," he snapped, "I've an engagement with a gentle- 
man here in Rabaul sometime tomorrow. I intend to keep 

"Right you are ! But be careful — he'll have eight inches 
of steel slung between his shoulder blades when he comes 

"I should imagine he'll need it." The reply was matter 

of fact as the eighteen-year-old son of the Glan Flynn 

of Dungannon strode from the bar. 

"Healthy young animal !" This from 

Dr. Biennsen to no one in particular. 

"Won't be so bloody 'ealthy this time 

tomorrow," was the bar -keep's gloomy 

t . ,. ^j prophecy. "An' all because the dirty 

&gjgjjM swine kicked 'is lousy 'ound," he added 

SMf «g« wonderingly. 

~JB Outside, an appreciable amount of 

Flynn's confidence ebbed away. Not 
that he was worried about a fight with 
any man living, but this was his first 
night in Papua. And he was broke. 
The cool, sago-barked inn and white- 
netted beds were not for him. He was 
on his own — and "his own" was on the 
beach, in the parlance of men "down- 
under." The beauty of palm fronds 
etched against the Southern sky, bril- 
liant even at night, the drowsy murmur 


.i the phosphorescent surf, the seductive 
perfume of the D'AIberti flower, all these 
held no charm for him as he made his 
way to the white sand in search of a place 
to sleep comparatively free of snakes. 

\tter all. he was only eighteen and far 
from home. 

• He'd landed in I'apua — New Bri- 
tain, to be exact — only that after- 
after having worked his way up 
on the packet from Sydney. He wasn't 
bothered about his family. He'd left a 
note for his mother, and his father was 
far down the Australian coast heading 
a zoological expedition. By the time he 
got back young Errol hoped to be well 
established for himself in the Islands. 
Such is valor of eighteen ! 

As he threw himself wearily on the 
warm sand, he grinned, his meteoric 
spirits on the rise again. An amusing 
thought had just struck him. He re- 
membered his last talk with the principal 
of the school in Sydney. They had dis- 
agreed on the subject of what a young 
man should do in the lustrous tropical 

"Study!" said the acid little man. 

"With all these beautiful ladies about, 

"You're too young for that sort of 
thing !" snapped the principal. 
. "Too young, is it, Sir ?" His apprais- 
ing eyes swept over the dried frame of 
the pedagogue. "Well, now, and here 
I've been thinking that it is when he's too 
old that a man stays in with his books and 
hearth all comfortable and — " 

"Young man. you're — you're dis- 
missed ! Get out ! Leave this office at 
once, d'you hear ?" 

Flynn backed to the door, smiling 
broadly. "Ah. the wonder of it!" he 
murmured softly as he watched the 
wizened man shake with impotent rage, 
'The very wonder of it! Such a big 
voice to come from such a little man !" 

Errol chuckled on the beach of Papua, 
gave his pup an affectionate shove and 
muttered sleepily, "An' let that be a 
lesson to you, my fine furred friend. See 
to it that you avoid the lady dogs of the 
native villages, or the tropics'll get y' 
if y' don't watch out \" 

And the hound growled happily at the 
very thought of it, and his master slept 
dreamlessly beneath the South Sea 

The sun woke him in the early dawn 
of the tropics. He yawned prodigiously, 
stripped, raced across the white coral 
sand and dove into the creaming surf. 
If he'd met a shark that morning, he'd 
have pushed it aside with a laugh or 
taken a bite out of it, he felt so good. 
The sun and wind dried him as he 
plucked his breakfast from a heavily 
laden paupau tree. The people of the 
town thought him daft as he strode to- 
ward the pub, smiling broadly with the 
joy of life and merrily saluting people 
he'd never seen before. 

All that day he sat outside the pub in 
a crackling good humor, quite uncon- 
scious of the fact that he was being 
carefully watched by a bushy-haired na- 
tive. It was late in the afternoon before 


the beetle-browed stoker appeared from 
the direction of the beach, this time with 
three pals, each as big and ugly as him- 
self. Flynn's eyes chilled as he rose — and, 
again, he was quite unconscious of the 
fact that the native who had been carv- 
ing a paddle handle all day nearby 
had miraculously disappeared into 
the brush. 

As the men from the ship 
came up others poured 
out of the pub, anxious 
to see the sport. 
Wagers were placed — 
with the odds against 
Flynn. Only the bar- 
keeper tried to inter- 

Errol Flynn, adventurer, athlete, and 
South Seas vagabond, has by virtue of 
one great motion picture, Captain 
Blood, established himself as a screen 
personality of tremendous importance 

vene. After all, he'd had trouble with the 
constabulary before and wanted no more 
of it. But he was ruthlessly brushed 
aside. As the four ship-mates faced 
Flynn it became increasingly clear that if 
he was lucky enough to take care of the 
first there'd be another — and another — 
and another. It looked like murder and 
the odds dropped still further, despite the 
fact that Flynn coolly stood his ground. 

• Suddenly from nowhere there ap- 
peared Dr. Biennsen and a party 
of his bushy-haired native boys, not one 
of whom but was a reformed head- 
hunter from the interior. As thev took 

their stations 
around the clearing, 
obviously eager, the 
kindly Doctor 
stepped forward. 

"Hope you don't 
mind, Mr. Flynn. 
Just dropped by iti 
the interests of good 

One of the 
stoker's pals stepped 
forward angrily, 
"Say ! 'Oo the hell 
do you think you 
are?" He stopped 
abruptly, a vague 
look in his eyes as 
he felt the sudden 
prick of a spear at 
the small of his 
back. It was one of 
the Doctor's 
"boys." The boy 
smiled happily, 
"You savvy kai-kai 
man ?" 

"What the 'ell 
does he mean?" 
swore the unhappy 

"Kai-kai m a n," 

answered Errol, "is 

a man-eater. He's 

trying to tell you 

that he used to be a cannibal They had 

them hereabouts, you know." 

"So! So!" chattered the spear-boy, 
enthusiastically, "Me kai-kai man ! You 
savvy ?" 

"Oh," replied the stoker's pal as he 
edged away. 

"Before I whip you again, laddy," saia 
Errol turning back to the stoker, "I want 
to warn you that last year I had the 
privilege of representing England on the 
Olympic boxing team. . . ." He stuck 
out his hand impulsively, "How about 
calling it off?" 

The stoker, instead of answering, 
snarled and let one fly. Errol caught 
the wrist dextrously, twisted it and 
slipped a hand over the stoker's shoulder, 
deftly extracted an evil-looking sailor's 
knife, tossed it aside and squared away. 
He was as merciful as he could be under 
the circumstances. The fight was short 
— four blows, to be precise — and Errol 
carried the fallen man into the bar for a 

An hour later they were buddies and 
the stoker was roaring that "his pal" 
was the best damn' fighter in the Is- 
lands. He clinched his argument with 
a belligerent scowl and question, "He 
mus' be ! Di'n't he lick me?" 

After that Errol took to hanging 
around the beach in search of any way 
at ail to earn a few shillings — and shil- 
lings are hard to find in the Island. His 
chief pastime was in bartering with the 
natives on the beich. During that whole 
period he maae but one friend — 
Biennsen. It was through the efforts of 
the kindly geologist that word was got- 
ten to Errol's family about the true state 
of affairs. The boy was far too proud 
to accept — or [Continued on page 89] 


Don't Lose 


Merle Oberon, who prid- 
ed herself on being a 
spit-fire, tells how she 
discovered the value of 
determined self-control 


THEY WERE rehearsing, after 
school, for the Class Play — event 
of events — at the smart finishing 
school in Calcutta, India, where the 
young and lovely Briton. Estelle Merle 
O'Brien Thompson rounded out her 
education. Rather, they had been re- 
hearsing. They were now in the as- 
sembly room, deserted except for mem- 
bers of the cast. 

Outside, it was warm spring and the 
afternoon sun painted a golden sheen on 
the palms along the drive way. The 
fragrance of exotic blooms swept 
through the open windows . . . Calcutta 
is heavenly in early spring. 

Still, the day's charm was rebuffed by 
the scene on the assembly room stage. 
All was not well with the Class Play. 
The rehearsal had stopped. The star 
was displaying temper, or temperament 
was what she called it, perhaps. A little 
cluster of students with manuscripts in 
their hands stood by, frightened and 
embarrassed. They play director pushed 
back her hair from a damp forehead 
with a gesture that bespoke exaspera- 
tion and hurt as well. 

The star stamped her foot. She was 

Merle Oberon's current picture, These 
Three, is a screen adaptation of the 
stage play, The Children's Hour, which 
rocked New York with its daring theme. 
If Dame Rumor is to be credited, 
Samuel Goldwyn paid SI 00,000 for the 
screen rights— and that in the teeth of 
Hollywood's belief that the story would 
run afoul of censorship. As usual Gold- 
wyn scored a triumph, for the picture is 
censor-proof and yet it loses none of the 
dramatic punch which distinguished the 

Merle Oberon, unknown only two 
years ago, has had a sensational rise to 
screen fame, and at this writing, is one 
of three nominees for the Motion Pic- 
ture Academy award— Hollywood's own 
tribute to artistry. She was born on the 
island of Tasmania, educated in India, 
and played her first important screen 
role in the English picture, Henry the 

lovely to look at, but there was no 
loveliness in her grey-green eyes. She 
was mad — mad clear through. 

"I shan't do it that way!" she cried. 
"You are wrong! You all are wrong!" 
And then, as no one answered her, she 
staged her climax: 

"I don't want to be in this old play, 
anyway !" 

The teacher-director's voice was quiet 
as she answered : "Very well, then. 
Merle. You may withdraw. Give me 
your manuscript." 

That was that. The young rebel 
thrust her manuscript into the other's 
hands and ran down the stage steps, her 
high heels beating a tattoo of angry pro- 
test. A door slammed . . . and they re- 
sumed rehearsal of the Class Play with 
another leading lady. 

"A.nd so," Merle Oberon (Estelle 

Merle Oberon, who is now to be seen 
co-starred with Miriam Hopkins and 
Joel McCrea in These Three, has sky- 
rocketed to stardom since she learned 
the folly of giving away to sudden anger 

Merle O'Brien Thompson that was) told 
me, recalling that turbulent scene on 
the other side of the world, "'the night 
of the play I sat in the audience and 
watched another girl triumph in the 
role I had thrown away. I had wanted 
terribly to be in that play, and then, in 
a fit of temper, I had lost the opportu- 
nity. I was sick with remorse. After 
it was all over, I went home and cried 
myself to sleep. All because I had al- 
lowed myself the brief, doubtful luxury 
of flying into a tantrum. . . ." 

This reminiscence of Samuel Gold- 
wyn's famous star, soon to be seen in 
These Three, Goldwyn's latest picture, 
came one day when she and I were hav- 
ing lunch at the Beverly Hills Brown 
Derby. We had been talking about tem- 
per and temperament. Merle said she 
didn't see much difference between the 

"To me," she declared, "temperament 
is too often merely a fancy name for 
temper — and as for temper itself — " she 
added, thoughtfully, "well, it is probably 
the most futile [Continued on page 87] 


Janet Gaynor 

a Small Town Girl 

Commentary by 

J A NET GAYNOR'S new picture, 
Small Town Girl, which she is 
making at Metro-Goldwyn-Mayer 
with Robert Taylor, serves as a reminder 
that Janet's consistent popularity is, in 
a sense, due to her keeping alive the tra- 
dition of the small town girl. 

She has the charming simplicity asso- 
ciated with girls from those little towns 
most of us remember from childhood; 
the shadow of maples over the streets, 
the delectable odor of kitchens, the school 
where your first girl caused you to slick 
your hair and shine your shoes. Janet 
reminds you of those things, too, in her 
voice, which is untouched with artificial 
accents. She wrinkles her nose in con- 
versation, gestures with a mobile little 
mouth, and her eyes sparkle with young 

Other details further endear her to 
fans whose loyalty is her precious 
possession — the fact that she rose from 
the ranks as an extra girl, wrote her own 
success story with hard work. She 
proved to a million girls that you don't 
have to have a flawless form and a face 
like a goddess to win out. 

Janet is very small, weighing only a 
hundred pounds and standing slightly 
less than five feet. She is a hustling 
organizer when need be. Men, on meet- 
ing her, are invariably attracted. Her 
one marriage failed largely through lack 
of sympathy from her husband for her 
work, which means much to Janet. 

Making Small Town Girl was, as 
usual in Gaynor pictures, more frolic 
than work. William Well man, the 
harum-scarum director, added to the 
picnic spirit. His crew will stop at 
nothing to get his films through on 
schedule. While on location at Monterey 
they accomplished the impossible by 
carrying huge lights on their shoulders, 
up a rocky path, so as to save 
Wellman an extra day of 

The location was new in 
picture work. The rocks, the 
green trees, the pounding sea. 
made it ideal to represent the 
coast of Maine. 

Janet and Bob appeared to 
enjoy their assignment to- 
gether. Whether their mutual 
liking may develop into an off- 
screen romance is one of the 
interesting conjectures which 
occupies Hollywood at the mo- 
ment. Bob, it seems, is quite 
like the rest of us — he, too, has 
found Janet irresistible. 

' ' * JC*. 

Janet Gaynor and Robert 
Taylor, lovers ideal in Small 
Town Girl, one of the new 
season's most romantic pic- 
tures. Many of the scenes 
were filmed on the beautiful 
Monterey Peninsula 

•/■. - ~'::JKt 


Janet Gaynor Writes 

Open Letter 

to a Beau 

One of Hollywood's most popular girls 
frankly presents her requirements for 
romance and describes her ideal mate 

I'm addressing you that way be- 
cause, you remember, Daddy- 
Long-Legs was just a shadow with 
whom a young girl fell in love. All she 
saw was his shadow on the wall, with 
legs absurdly long because of the way the 

light fell on his figure, but she adored 

Well, you are still just a shadow, Mr. 
Beau-To-Be, for I haven't met you yet. 
Really, that's why I'm writing you a 
letter — because you are quite imaginary 
(as yet) and you haven't the slightest 
notion of what sort of girl I am. 

To be quite frank with you. I'm not 
always so sure on that score myself ! 
I can, however, tell you about my likes 
and dislikes, and then you can form your 
own opinion of me. 

First of all, my two big passions are 
dancing and going to the theater. So, 
if you don't like to dance or go to shows, 
I suppose your opinion of me has gone 
kcr-plunk, before I've even gotten 
started ! 

Dancing is such fun. though, with the 
right partner and the tingle of good 
music, that I'm sure you must like to 
dance. For that "right partner" I like 
a man who is tall — very tall, in fact. 
Head and shoulders taller than I. I'm 
only five feet, so it isn't a difficult re- 
quirement to be quite a lot taller than 
I am. 

You are. I fondly hope, the type who 
doesn't talk at all while dancing. I like 
to just dance and dance, and forget 
everything else. 

But I should really be helpful in this 
letter to you, and try to organize my 
thoughts. Suppose I start with an 
imaginary date with you? Let's pretend 
we were going out together, and I'll just 
write down my thoughts. 

First of all, you would call me up. 
Say the evening or so before, so that I 
wouldn't be busy. There are so many 
things to be accomplished in picture 
work that sometimes it seems as if I 
never get a minute for myself, unless I 
plan ahead. 

I don't, therefore, like to have people 
just "drop in." [Continued on page 90] 


SIX YEARS ago, Jean Harlow, with 
Hell's Angels behind her as her single 
screen appearance ; and Clark Gable, 
with small parts in Painted Desert, Easiest 
Way and Dance, Fools, Dance behind him, 
met for the first time in The Secret Six, an 
M-G-M production which starred Wallace 
Beery and Lewis Stone. Beginners both. 

The other day I talked with them on the set of Wife 

Stars both. 

We sat, the three of us, in Jean's portable dressing room 
on the set. Near enough to the ice palace which had been 
constructed for the picture to hear the band playing, the clink 
of skates as professional skaters engaged for the sequence 
described arcs and figure eights and other geometric designs 
on the "ice" of the rink. 

Jean wore ice skates and a blue skating outfit. Clark wore 
ice skates and brown tweeds. They had just shot a scene in 
which both had taken a "brodie" and had come up laughing. 
They had taken the brodie, too. Not once but several times. 
Meanwhile, their stand-ins had stood comfortably to one side 
watching the stars seeing stars and risking bruises. 

I said to Jean and Clark, '"What I want to know is this — 
what dreams did you two dream when you were making your 
first picture together back in the Neolithic age? Did you 
dream that it would come to . . . this ?" 

And I indicated, comprehensively, the small de luxe dress- 
ing room, Jean's maid hovering in readiness, Clark's man 
proffering him a gold cigarette case, the stand-ins standing 
at attention — the whole luxurious frame of stardom. . . . 

And before the question was out of my mouth they an- 
swered in unison, "We didn't!" 

"Nope," said Clark, "I can answer for both of us and if 
I'm wrong Jean can stop me. We didn't have a dream in our 
heads. We didn't even think about a tomorrow but only of 
the day itself. We never thought about being stars. We knew 
that there were such animals and we admired them, respect- 
fully, but at a distance. For never once did we think of 
ourselves as potential stars, or any kind of stars at all. 

"When I first met Jean I thought 
she was a nice enough kid, but a 
rotten actress 



and what they didn't 

Fact is, we didn't think about it at all. While as for 
dreaming . . . well, dreams don't sit so well on an empty 

"I still can't think of myself as a star," said Jean, "sounds 
silly but it's a fact that I never think of me as a star. I find 
myself thinking of Garbo and Dietrich and Colbert and Craw- 
ford and others as big stars, and then the thought comes, 
'but you're a star, too' — and it doesn't ring the bell. It doesn't 
seem to be real!" 

"Doesn't sound silly to me," Clark said, "because I feel 
the same way myself. Always have and always will." 

"Clark hasn't changed one mite," Jean said, with an affec- 
tionate smile and her fellow star, "since his almost unparal- 
leled success came to him. He's just the same today as he 
was that first day in The Secret Six. My chief recollection 

of him then is the way he 
threw hard rolls at me in one of 
the scenes — and then between the 
scenes, 'just for fun' . . . FUN ! 
He got realism into those rolls, 
believe me. He aimed 'em with 
deadly precision. He gets realism 
into falling on the ice, too, as my 

By the time Jean Har- 
ow and Clark Gable 
co-starred in Red Dust, 
they had recognized in 
one another the 
qualities of greatness 


Jean and Clark 

"Clark Gable didn't impress me. I 

thought he was just another actor 

with a temporary job and no 

future . . ." 



tell Gladys Hall ! 

fair limbs will doubtless bear witness tomorrow. What I 
mean is, we fall — and fall again. . . ." 

"And Jean hasn't changed either," Clark said. "In the be- 
ginning, she wouldn't have thought of allowing anyone to 
take the blows for her. She doesn't think today of having 
anyone take the falls for her. . . . 

"No, you see in the days of The Secret Six we just thought, 
Jean and I, that we had jobs and were darned lucky to have 
'em. Our only hope was that there would be another job for 
us when the current one was finished. We never got be- 
yond that point. . . ." 

"At the risk of being called an Elsie Dinsmore or some- 
thing," Jean broke in, "I was really thinking only of my 
mother then ... of the sacrifices she had made, of the family 
opposition she faced when we 
came to Hollywood. I was just 
hoping, from hour to hour, that I 
would be allowed to keep on work- 
ing, for her sake. Just as I would 
have felt if I'd been a stenogra- 
pher or had any other kind of a 
job. I also had the hope that after 
a good many years and a lot of 

And as the lovers in 
China Seas, hailed as 
two of the screen's 
greatest stars, their 
first impressions of one 
another were amusing 

hard work I might develop into the kind of an 
actress I'd like to be. But of stardom, of great 
success, of all the glamour that went with the 
Garbos and the Loys I never had a thought or 
a dream. I just didn't place myself in their 
category at all. I didn't have time to dream. . . ." 
"/ was thinking of my tummy," grinned Clark 
"and what steady jobs could mean to it!" 
"But it was fun," Jean said, blue eyes wistful, almost wish- 
ful for the departed days when she and her mother 
shared a modest home and very modest hopes ; when Clark 
used shoe leather instead of a new Dusenberg for trans- 

"Well," I commented, "I have picked two honies ! If you 
don't dream of stardom for yourselves, individually, didn't 
you think of it for each other?" 

"Whad'd you mean?" asked Clark, blankly. 
"I mean, didn't you, Clark, gaze upon the platinum blonde 
glory that was Jean and say to yourself, 'Here is the next 
big box office Glamour Girl ! Here is a rising star ! Here 
is the studio's next gift to the fans' ?" 

"I did NOT," retorted Clark, with the ruthless and un- 
prettified honesty which characterizes everything he says, "I 
thought she was a nice kid but a rotten actress and that was 
as far as I went in thinking about her at all." 
Jean laughed. 

"And you ?" I turned to her, "did you think when you looked 
at Clark that he was to be the biggest star sensation since 
Valentino? Did you know. . . .?" 

"TMAGINE my embarrassment," grinned Jean (they re- 
*■ minded me, the two of them, of high school kids play- 
ing Truth), "but honestly — NO! I didn't think about him 
at all. I mean, I thought that he was just another actor, 
and not such a hot one at that, with a job. I thought he was 
a lot of fun and I took his advice but only because I always 
take advice from everyone. . . ." 

"It wasn't until we made Red Dust together," Clark cut 
in, "that I realized Jean was an actress to be reckoned with, 
a comer, a star . . . she had improved so vastly by that time 
that even a blind man could get a [Continued on page 62] 

Expose Each Other 

JL 35 

'OF Mississippi the darkies 
call it — and its haunting ro- 
mance has influenced the life 
and career of Irene Dunne 


THE LITTLE GIRL had a disastrous habit of stand- 
ing on tip-toe to look down at the snow-white prow 
cutting through the dull green water — and of jumping 
up and down at the sight of long-legged water fowl scampering 
along wing dam and sand bar, or at a glimpse of a lazy catfish 
in the shallows, or at the sight of imagined wild things in the 
woods along the shore. And her slippers suffered from con- 
tact with the coils of tarred rope which cluttered the deck of 
the river steamer. But little Irene — "Missy 
Dunne" — the crew called her — didn't care. 

It was when the boat tied in at the long, 
rickety river piers that her little slippers suf- 
fered most. Then they must find toe hold so 
their owner could hang over the rail and look 
down into the funny, patched, flat-bottomed 
boats of the colored river folk, who rowed, 
sculled and poled out from shore, bayou and 
creek to moor against the big boat, rub their 
black hands over its smooth paint, and lazily 
reckon where it had come from and how fast it 
could go. They had fish to sell — though no 
passenger ever bought any — and quaint river 
songs to sing for a silver piece. 

The little girl loved those songs ; they haunted 
her. She often stood on the aft deck, looking 
down at the squat stern of the boat, where the 
colored crew gathered to shoot dice and relate 


In Showboat, Irene Dunne has a role which she can play from 
her heart — for the great river dominates her childhood memories 

wildly impossible river yarns. And the men learned to keep 
a weather eye aloft for the little white lass who threw pennies 
down to them, and who was always asking old Moe, and that 
no-count Glimp from up the dirty waters of the Red, to sing the 
strange river songs of which they knew only snatches. And 
then, at night, they would find her in some far corner of the 
big boat, singing the songs over and over again ; trying to put 
them together, and adding words to make them rhyme. 

They would grin, and nod knowingly, as they always did 
when Negro music found a white soul to haunt — and "01' Man 
River" began to flow in white veins. 

The endless, silent, mysterious roll of water; the hushed 
music that seemed to hang always over the bosom of the great 
river, the soft, bright moonlight, setting silver fire to a million 
ripples ; the black, eerie shore shadows and the mist-covered 
hills beyond; the dank smell of moss and marsh, cut by the 
pungent scent of wild blossoms — and centuries old legends — 
these were the spell that held the darkies in its grasp. This was 
"01' Mississipp" to them — this, and a disturbing memory of 
the great piles of steamship fire-wood to be passed and the bales 
of cotton to be stored aboard. 

All this, and more, passed through nine-year-old Irene 
Dunne's mind as she lay in her little cabin at night, counting 
the throbs of the big engines below, and listening to the lash 
of the great paddle wheel behind. River legends and darky 
songs, mingled with charts and models and figures and uni- 
forms. Gay scenes in the cabins of river boats, brightly lighted ; 
brilliantly painted showboats with their music and jokes and 
stages, and strict naval discipline and polished brass — all this 
was Old Mississippi to her. 

When she was not on one of her many trips on the boats 
between St. Louis and New Orleans, she was at home in Ken- 
tucky — where pictures of races between river boats, photo- 
graphs of partly built ships and etchings of old vessels decorated 
the walls, and where boat models and boat talk was as common 
as cornbread. 

Her grandfather was a famous designer and builder of river 
steamships, and her father was soon to become supervising 
general of river steamboats for the United States Government. 

So Irene Dunne carried more than a headful of colored folk 
legends and a heartful of dark music through school and to the 
Bush Conservatory of Music in Chicago with her. She carried 
the romance of "OP Man River" in her veins. And she has 
never got it out" — not to this day. Even now she subconsciously 
picks out on the piano old river melodies and darky songs that 
she learned in those early girlhood days. 

Little wonder then, that the first time she saw and heard the 
stage play. Showboat, her heart missed a beat, a lump rose in 
her throat and a haunting, persistent desire got into her blood. 
She wanted to play in Showboat. She knew just how "Mag- 
nolia" felt when she stood by that old rail, looking over the 
water and up at the moon. She knew "Julie" and the plaintiff 
half-wild streak in her. She knew "Cap'n Andy" and she knew 
the darkies who sang out their hearts to the river. 

It was her show ! It belonged to the river, and she belonged 
to Old Mississippi, too. She knew "Ravenal." the polite, 
genteel river gambler, with the heart of a poet and the mind 
of a child. 

"There are some things you just don't talk about," ex- 
plains Irene now, "and my lounging [Continued on page 70] 





The dramatic story of 
one of Hollywood's 
most ironic situations 
— ex -wife and ex-hus- 
band reliving their ro- 
mance in make believe 




Henry Fonda, ex-husband and ex- 
wife, are making a picture together. 
It's titled The Moon's Our Home. To 
those of you who do not know the amazing story behind it, 
it may seem just another fine picture. But to Hollywood, 
knowing all of the circumstances, this picture is an ironic 
anti-climax for one of the strangest of real-life romances. 
Henry Fonda and Margaret Sullavan, once madly in love 
and happily married — are now playing at love and marriage 
and. . . . 

But wait, here's the plot of the picture. Later on, I'll tell 
you the story of their off-screen romance — and the irony will 
be apparent. 

The Moon's Our Home was written by Faith Baldwin. Henry 
and Margaret play the parts of Anthony Amberton and Cherry 
Chester — a flamboyant explorer-author, and a temperamental 
Hollywood star. But when they first meet they're traveling 
under their own names, so they know each other only as 
plain Sam Smith and even plainer Sara Brown. They "meet 
up" in one of those old fashioned winter boarding houses in 
New Hampshire, where both of them have gone "to get away 
from it all." 

Theirs is a mad romance from the start. They fight and 
they argue and they throw things at each other — and that, 
incidentally, is how they find out they're in love. Sam, I think, 
finds it out first At any rate she turns him down the first 
time he proposes. She tosses her head and claps her hands 
over her ears and says ''No!" What she wants is her free- 
dom — her glorious, rapturous, untrammeled freedom! (Movie 
stars are always saying that, even when they're incognito ! ) 


Sullavan and Henry Fonda as the lovers in The Moon's Our 
real life they were married, but quarreled and were divorced 

And it isn't until the fourth try that he finally persuades her 
that they can be married and still keep their freedom. He 
promises that they'll make their home "in the moon" . . . 
and that they'll never tie themselves down! 

However, on their wedding night they quarrel again, and 
she leaves him flat, and they're a long way from living in 
the moon. And they have an awful time getting together 
after that, but of course eventually they do and the story 
ends with their living "happily ever after," as most stories do. 

The point is this — 

The real life romance of Margaret Sullavan and Henry 
Fonda started out much as their picture romance does. They, 
also, met in a New England retreat, and, in a way, they too 
were incognito. (At least, like the people in the picture, 
neither of them knew that the other was going to be some- 
body famous.) Also, they argued and fought and threw 
things at each other, and at first Margaret didn't want to 
marry Henry because she wanted to keep her freedom, and 
then finally she did — again, just as it happened in the pic- 
ture. It's all pretty much the same, as a matter of fact, right 
up to the time when the girl walks out. There the similarity 
ends. In Miss Baldwin's story the lovers get together again. 
But the Sullavan- Fonda marriage died in the divorce court. 

For why, when, where and how, let's begin at the begin- 
ning. Oh, yes, and let me say right now — in case anyone 
wonders where I got this story — that I used to spend my 
summers in Falmouth. [Continued on page 65] 

Robert Taylor 
Hollywood Aladdin 

Even the genii of the old Arabian 
Nights' tale could not bring about 
a greater miracle than the sudden, 
spectacular rise of this young star 


A LIFETIME'S accomplishment in a year ! 
From the first rung of the ladder to the top — success 
and world fame, all within twelve months from the start 
of a career which apparently has still greater triumphs in store. 

That's the record of Robert Taylor. 

No wonder the song he sang to a "lucky star" in Broad- 
way Melody of 1936 rang with such sincerity. 

Bob is a little breathless with the rush of success. He said 
so himself. 

It was between scenes on the Small Town Girl set where 
he was playing opposite Janet Gaynor. We asked just how 
it felt to find one's self so suddenly lifted to the heights. 

He pondered a moment. Then he gave up, with a brief 
sigh accompanied by his disarming smile. 

"I feel like saying — hey, not so fast ! You see, I can't tell 
just how I feel. Things have happened so fast that I haven't 
had time to think. There are a lot of things I want to 
straighten out in my mind as soon as I have the time." 

It wasn't hard to see his point. In the last six months 
Bob's fan mail has jumped from the hundreds to thousands 
of letters each week. Headlines scream his success in Broad- 
way Melody and in The Magnificent Obsession. He's acclaimed 
the "hottest new box office bet" in the business today. On 
every hand there are requests for interviews and 
autographs. People stare and talk, sotto voce, when- 
ever he appears in public. Between all this and his 
almost daily work before the cameras, it is small 
wonder that Bob has had little time for self-analysis. 

One thing was certain, however, without our ask- 
ing — Bob has changed in the last twelve months. But 
the change is for the better. He has a great deal 
more poise — an assurance that comes only from ex- 
perience and the inevitable psychological effect that 
the knowledge of having proved one's self is bound 
to give. 

Those who recall Bob as he appeared a year ago 
think of a quiet and darkly handsome boy — shy and 
retiring. He moved about his business at the studio 
so unobtrusively that one barely noticed him at all. 

Buried Loot, a crime short, first started people 
noticing "that young Taylor" who was studying with 
the other youngsters in the M-G-M school. Still, his 
inherent shyness made him a practical stranger un- 
til his work as the young interne in Society Doctor 
resulted in a buzz of interest. At that time, Taylor 
was more surprised than anyone else. 

Bob still remained very much to himself. He wouldn't even 
go around the publicity department workers, that democratic 
and social group, thinking they might imagine he wanted 

Possibly his attitude was a result of the suddenness with 
which he was thrust into pictures. After executives of M-G-M 
opened the doors of that great studio to him upon watching 
his performance in a Pomona College production of Jaurney's 
End, and gave him an opportunity to study acting, Bob was 
elated, but skeptical. So dubious was he about the whole 
matter, that he didn't forget his scholastic education and jump 
at the offer. Nearly through his senior year he was de- 
termined to finish — in spite of the fact that he would be risk- 
ing the loss of his screen opportunity. 

Taylor was not only modest, but also of a practical turn 
of mind. When he started in college, studying to be a doctor, 
he was prepared and only too aware of the years of study 
that were ahead of him. An overnight success was the 
thing farthest from his mind. And he entertained no glowing 
notions when he started at the studio. 

Even after the enthusiastic notices of his work in Society 
Doctor, he went along, content with a steady day-to-day pro- 
gression, hoping for a "break" but refusing to worry about 
the date of its arrival. 

Of sturdy stock, Bob has always had his feet on the ground. 
Today, with a glittering vista spreading out before him, he 
has no elaborate plans. Dreams yes. But Bob never went in 
for plans. 

"I never make plans," said he. "I've found it a lot more 
pleasant to do the best I can, and then let matters take their 
course. Possibly I'm superstitious [Continued on page 64 J 






Grace Moore- and Franchot Tone bring to 
the screen the most romantic of all musicals 

IT WAS springtime in Old Vienna, and gangsters and gun- 
molls and G-men were many years in the future, and there 
were no tap-dancers, and the only kind of crooners the good 
burghers had ever heard about were spelled kroner, and you 
bought beer and wine and pretzels with them. . . . 

And it was the young Emperor's birthday, and there was 
carnival in the streets. . . . 

And the young Emperor himself, handsome and gay and devil- 
may-care, had doffed his ermine and dodged his advisors, and in 
the uniform of a young lieutenant of Hussars, made high revelry 
at the carnival with his citizens. . . . 

And it was there he saw the little seamstress he'd eyed in the 
palace when she came with the girl he had to marry but didn't 
want to, and the devil flirted in his eyes and the little seamstress' 
eyes twinkled back. And so came love. 

— And so comes to you the screen play on which Grace Moore 
is betting her reputation to win your hearts and your acclaim. 
For more than a year, she has fought for that kind of story to 
give you — a story of young love and romance, with the sweet- 
ness of peach blossoms and the music that violins and cellos love 
to sing and the kind of love-tale that steps off the humdrum sur- 
face of the earth and soars into the clouds of imagination and 

"They've had gangsters galore, and mammy-shouters and tap- 
dancers and realism," she said. "Now, why not give them their 
dreams come true?" 

"What do you mean ?" they asked. 

"I mean the rich glamour of the Old World, the music of 
Fritz Kreisler, the fragile beauty of old lace and hoopskirts and 
peach blossoms in spring, the sweetness of simplicity and un- 
sophistication, the warmth of dreams." 

And so they gave in. She'd told them that her first picture, 
One Night of Love, while all right in its way, did not realize the 
promise of music on the screen, and that her second, Love Me 
Forever, did no better. 

"All right," they said, "the next is up to you." 

For a year, she worked with writers and lyricists and 
prop men and directors of this and that. And the result — 
The King Steps Out. No Moss & Hart, no Irving Berlin 
wrote the music. Fritz Kreisler did that — and you'll hear 
Grace Moore sing The Old Refrain, and The End Begins 
(which* is really Kreisler's Liebeslied) and Stars In My 
Eyes and Madly In Love (which glows with the passion 
of the gypsies), and the Soldiers' March, wherein a grand 
chorus of marching men booms the cadences of the song 
back at her, and the Austrian Hymn — and Learn How To 
Lose which is Kreisler's eye-dimming, heart-stopping 

Your eyes will carry you back, too, back from 1936 and 
all its woes and worldliness to the days of misty memories, 
when fairy tales actually happened and "hot-CHA" was 
only a sneeze ! Columbia raided the museums and the art 
galleries of Europe to make it real. Even from the Petit 
Trianon, after much dickering with France's government, 
they brought Napoleon's coach to lend authenticity to one 
scene. They built a palace — and they built a palace 
garden, because the spirit of romance and dreams might 
better be captured in a man-made garden than in the reality 
of nature. And so they hired a great stage because none 




Grace Moor© 

in Vienna 


of Columbia's own stages were big enough. And they cut down 
many young peach trees and brought them there and re-planted 
them. And they silvered their trunks and their branches, that 
they might gleam as they would in a dream, and on their 
branches they put thousands upon thousands upon thousands of 
hand-made peach blossoms, until Fairyland became real. And 
in that garden, Grace Moore sings of her love for the young 
Emperor, Franchot Tone. 

That the music might thrill to the depths of the emotion 
Kreisler poured into it when he composed it, Josef Pasternak, 
Grace Moore's famed musical director, himself was in charge of 
music for the film. And that there might be no awkward hit- 
and-miss between the singers' lips and the songs you hear, the 
songs were actually recorded at the same time the scenes were 
shot — and that, you know, is something new, for heretofore in 
screen musicals, the songs have been recorded separately and 
then "dubbed in" — (and sometimes, sometimes, they matched 
the movements of the singers' lips). 

There will be beauty galore. Grace's gowns will themselves 
be dreams. Ernest Dryden, who was with Chanel of Paris and 
Saks of Fifth Avenue and who is a world-famed designer — 
but who, above all, is himself a Viennese! — designed her 

There will be big dance numbers. But no hot-stepping 
chorines with undulating hips and shivering shoulders will step 
off jazz on a mirror floor or a revolving fan. Instead, the 
breath-catching beauty of the famed Albertina Rasch ballet of 
forty dancers will thrill your eyes. 

All these things, and many more, were Grace's own 
ideas. Last but not least was her determination that Josef von 
Sternberg should direct — "because he knows Europe and he 
knows the feel of the Vienna of old, and the romance it knew 
and the dreams it spun," she explained. 

They are finishing the story as this article is being 
written. And they've had fun, great fun — for, permeating the 
entire shooting, from beginning to end, was that comradely 
warmth and co-operation that sweeps through a company when 
a hit is in the making. It's an indefinable psychological mani- 
festation that Hollywood knows — that unit jollity and fun and 
excitement that heralds a "great" film, even before the shooting 
schedule is half-way through. 

Fun ? I'll say so — even when things went wrong ; things that 
in other pictures would have wrecked tempers and tempera- 
ments. There was the day a great tank burst, in which mermaids 
and fish were swimming together. The studio was flooded, and 
the poor fish died (but they rescued the mermaids). They re- 
built the tank, after everybody had laughed and talked of free 
fish dinners, and they shot the scene again. 

Von Sternberg became human. He's been known in the past 
as a driver, a hard director. In this, he's changed. He even 
cared so much for a group of extras that instead of filling toy 
balloons for the carnival scene with hydrogen, which might ex- 
plode and burn someone if fired by a careless cigarette. Von 
ordered non-inflammable helium gas used. And that cost the 
studio a pretty penny ! The high excitement of it all caught 
Von, and he discarded the dun overalls in which he formerly 
liked to work, and blossomed out on the set in colorful ensembles 
and shirts of many hues, until even the grips kidded him and 
Von kidded them back. [Continued on page 86] 


Franchot Tone 




Professor Temple, the 
of them all, gives 

HERE'S A GRAND chance for 
any youngster to learn to dance 
like Shirley Temple . . . ! 

For in MOVIE CLASSIC, in a series 
of specially-illustrated and simply-ex- 
plained articles, Shirley herself is going 
to tell just how she does the steps that 
have delighted the millions who have 
watched her dance on the screen. 

She's going to tell and show, too, how 
she dances her own "private dance" — 
the steps she does in her own home, for 
fun. She'll explain every movement of 
each step, so that anyone can follow. 
And what's more, Shirley has posed for 
a series of photographs which show 
plainly how each step is taken. With 
Shirley's explanations and these pic- 
tures, any youngster can learn to do 
Shirley's dances. 


"I had to practice a lot before I could 
dance these steps right," says Shirley. 





cleverest little "hoofer" 
a dancing lesson 

And then she grins up at young Jack 
Donohue, the fast-footed young English- 
man who was Shirley's dance instructor 
through the months that led to her 
present eminence as the screen's Number 
One Star. 

Donohue knows how Shirley prac- 
ticed. He can tell you. He showed her 
how to do the steps, just as in this series 
of artiales Shirley will show you how to 
do them. BUT — after seeing how, it 
will take much practice to be able to do 
the steps correctly at dancing speed, 
with the apparent ease and grace with 
which Shirley herself does them. So, 
if learning seems to be slow at first, says 
Shirley, don't become discouraged, but 
do the steps over and over again — "and 
before too long, you'll be doing them 
just as [Continued on page 77~\ 

Shirley and Jack Donohue, her 
dancing instructor, halt the day's 
work for an impromptu romp 




\l i n \ k u 


jljf Li 





- .. Jm 


Fred Astaire, retiring by nature and 
resentful of revealing publicity, is 
something of a "mystery man" even 
in gossipy Hollywood, but .... 

I Knew 

Him When- 


Fred Astaire, flying high in the latest Astaire- 
Rogers dance-fest, Follow the Fleet. Left: 
Helen Broderick, screen and stage star, and 
friend of the Astaires in the days of vaudeville 


Helen Broderick 

YES, I knew Fred Astaire when . . . well, when he was playing "split- 
weeks" in vaudeville, always billed second or third because he wasn't con- 
sidered good enough to perform after the audience had settled in their chairs ; 
when Adele Astaire was considered the "star" of the family, and Fred just a bright 
little brother ; when a pair of seventeen dollar shoes was an event in his life ! 

I know it's customary to say of someone who has reached the top, "I always 
knew he'd do it." I'm not saying that about Fred Astaire. It surprises me even 
now to think that the youngster I met in vaudeville in 1915 is one of the biggest 
box office draws in the country. And I think it surprises Fred Astaire, too. 

I met the Astaires in 1915 in, of all places, Woonsocket, Rhode Island. We were 
playing in vaudeville there that Monday night. I know it was a Monday night, 
because vaudeville engagements were made on the "split week" basis. They began 
on Monday; if you filled the bill (no pun intended), they lasted until Thursday. 
If you didn't .... well, every vaudevillian in the country who wasn't a headliner 
trembled on Monday night. 

Fred's shoes led to our first acquaintance. Made of fine leather and obviously 
hand turned, they weren't the kind of shoes ordinarily seen backstage in a vaude- 
ville theater. My husband eyed them enviously. With the easy familiarity of 
one vaudevillian to another, he observed : 

"Say, youngster. Pretty nifty shoes you're wearing." 

"Thanks," Fred replied, and then added significantly, "they cost seventeen 
dollars !" 

Fred must have been about sixteen or seventeen then, and the price of those 
shoes represented a pretty big share of his income. No wonder he was proud of 
them. But, aside from his shoes, the rest of his clothes were always neat and well 
tailored also. Fred has always been well turned out, and has always worn his 
clothes with the nonchalant ease of a gentleman. 

Vaudevillians in those days obtained engagements by forwarding their pictures 
to the theater managers. If the act didn't click on Monday night, there would 
be a knock at the actor's dressing room, and the theater manager would hand him 

a folder with the succinct remark, '"Here are your pic- 
tures." That meant your services were no longer 
required. As we inelegantly but aptly put it, it meant 
you were "canned." 

The Astaires, my husband and I, were "canned" 
that night in Woonsocket. That was the first of our 
many bonds in common. 

One of the surviving vaudevillians — I've forgotten 
his name — remarked: 

"Too bad about the young Astaires ! The girl isn't 
bad. But Fred is going to be much better off after he 
gets wise to the fact that he can't dance." 

While we waited the next day for our agents to 
wire us where we could next try our luck, my husband 
and I had a chance to become better acquainted with 
the Astaires. I say "Astaires" because it was im- 
possible to know one of them without knowing the 
others. Mrs. Astaire always traveled with her 
youngsters, chaperoning Adele and seeing that Fred 
was properly taken care of. He was the baby of the 
family, and even Adele mothered him a bit at times. 

Our conversation concentrated mostly on "panning" 
the theaters for not recognizing our various abilities 
as entertainers. Adele Astaire resented their attitude 
vehemently, and talked confidently of the time when 
she would be a big Broadway star and "show them." That was 
my idea and my husband's, too. Eventually we were all to 
realize our ambitions. But Fred, who was destined to reach 
the highest pinnacle of all of us, said only: 

"I've got a new routine in my mind that'll go over better than 
the last one, maybe. Do you want to try it, Adele ?" 

There you have a typical Fred Astaire attitude . . . and it 
still is. Like all real artists, Fred's standard of perfection was 
and is far above that which is possible for him to reach. Fred 
has never been satisfied with what he achieves. Every time 
he was "canned" in the old days, I had the feeling that he 
agreed with the manager that he wasn't quite as good as he 
should be, and immediately set out to make himself better the 
next time. But, too, like most artists, Fred has a deep sensi- 
tiveness, and I know that those early rebuffs left an indelible 
hurt. However, instead of embittering him, those early hurts 
made Fred Astaire more sensitive to the troubles of others, more 
ready to perceive them, more eager to help. Many destitute 


f IV 6 D X A D€L€ ' A'STA I K€ 

The Band! W^on 

a tre* ' - - ~ - 

€ W Am ST6 RD A m Theatre 

AX ST. Wat of Biuy M<rf . wep. * sat. 

Ambitious dreams came true for Helen Broderick and Fred 
and Adele Astaire when they received their first stellar billing 
in, The Band Wagon, a famous Broadway hit. Above is 
reproduced one of the posters used to advertise the show 

vaudevillians who knew Fred in the old days will testify that 
he is always ready to help. 

In justice to the Astaires, I must say that it was Adele who 
was right about their dancing. They were good, even in the 
infancy of their career. 

I met the Astaires frequently after our unsuccessful night in 
Woonsocket. I felt complimented when Mrs. Astaire sanc- 
tioned my friendship with Fred and Adele. The young 
Astaires were not encouraged by their watchful mother to 
become friendly with all of the people they met backstage. 

Fred and Adele, like any brother and sister, did not always 
see eye-to-eye. One subject frequently caused dissension in 
the Astaire ranks. That was the [Continued on page 80] 


WHEN they heard that Warner Brothers were 
going- to film Anthony Adverse, the self-appointed 
"Wise Men of Hollywood" gasped, shook their heads, 
raised their eyebrows and muttered : 

"Oh, but they can't do it . . . !" 

Then they smirked and explained that such goings-on might 
be all right in a book, mind you, but on the screen ! — well, a 
young fellow on the screen simply could not go around Europe 
and Cuba and Africa and America and England, having affairs 
here, there and everywhere with women. 

Why, they said, what would women think of a hero who 
took his Angela, and his Faith, and his beautiful Cuban Dolores 
and his lovely half-breed, half-white-half-black, Neleta and a 
few others en route — took 'em, and loved 'em and left 'em . . . ? 

No, sir-ree ! they said, it simply couldn't be done. NOT on 
the screen . . . ! 

And so Warners went ahead and did it. 

And to add another item for the critics to howl over, they 
gave the role of Anthony Adverse himself — a blond, twenty- 
year-old, befuddled and bewildered lover — to Fredric March, 
who's more than a decade over twenty, and who's as black-haired 
as they come, and who's anything but befuddled and bewildered 
about love. 

"Freddie March? Freddie March??" the anvil chorus 
screamed. "Heavens above, HE couldn't possibly play Anthony 
Adverse, even if they dared film the story. Why — he's not the 
type !" 

All of which goes to show how utterly wrong these pre- 
critics of Hollywood's doings can be. For not only have 
Warners made Anthony Adverse into a picture, but they've 
starred March for the first time in his career. And both picture 
and March are great ! 

But, in sheer justice to the howlers, I may as well tell you that 
even Freddie March, himself, at the beginning, was among 
those who yelled : "Fredric March can't play the role." 

He told me all about it in his dressing room on the Warner 
lot, during the last day's shooting on the picture. He told me 
that it was probably the most difficult role he's ever attempted. 
And he told me, too, that Anthony Adverse, despite his youth 
and his blond blandness and his befuddle- 
ment and bewilderment in love, will turn 

out to be one of the greatest "great lovers" D -lj a -r> t> \t- T A XTO 

of the screen. DJ JtlAKKY .L/MnU 

"Certainly," said Fredric, "Anthony has 


his affairs here, there and everywhere. Woman after woman 
gives him her favor, and Anthony takes and moves on. 
And yet — he's not a philanderer. He's a real lover, a 
sincere lover, a complete romanticist, and women can't help 
but love him. . . . 

"Why, the women who see him on the screen will love him 
just as truly as did the women in the story. Mark my words, 
this unsophisticated, mild, inexperienced youth will thrill women 
just as thoroughly as any of the ultra-clever 'Great Lovers' of 
the screen." 

I looked at the Fredric March who was talking to me. It 
was a strange March, this one. When I made my date to talk 
with him about Adverse and love and things like that, I'd ex- 
pected to see the Fredric March you all know — a well-dressed, 
black-haired, strong-jawed, thirty-odd-year-old man of the 
world. . . . 

I knocked on his dressing room door and when the called, 
"Come in," I entered — and stood on the threshold, astonished. 
There sat a fellow — a boy of about twenty or twenty-two. His 
face was as smooth and unlined as a college freshman's. And 
his hair — it was as blond as taffy, and tangled in a mop of fuzzy 
curls in back. It was a rather "pretty" boy I saw — and the only 
thing about him that even reminded me of March was that jaw- 
line — which no makeup can conceal. He grinned at me. 

"Surprised at this makeup?" he laughed. I nodded. 

"Matter of fact, so am I," he conceded. And that's how we 
came to talk about his playing the role. 

"When I first read the book," he told me, "I was on a boat, 
with my wife, between here and Europe. I knew I was to play 
the role, and I assumed that the movie script would skip most 
of Anthony Adverse's adventures in his twenties, and let me 
play him in his thirties — which seemed logical to me. 

"And then — they gave me the script. It was the role of a boy 
of twenty they were handing me. I rushed to Mervyn Leroy, the 
director, and waved the script before him and said, flatly: 'Look 
here, Mervyn ; I'm not twenty ; I can't look like twenty ; I can't 
act like twenty. I simply can't play this role !' 

"Then he pulled a priceless answer : 'Why, Fredric,' he told 
me, 'forget it. Forget it — we've changed all that. We've made 
him older. . . !' 

" 'That's better,' I told him, 'because I just 
couldn't play a youth of twenty.' 

" 'Of course not,' said Mervyn, 'so we've 
made him twenty-TWO. . . . V 

• "And that was that. I was so flabbergasted that I 
merely gasped that that was marvelous." 

And the funniest part of it is that Fredric March, 
thirty-something though he is, plays the role of this 
stripling in his early twenties with a perfection that will 
astound those who see Anthony Adverse on the screen. 
I asked him how — 

"Well, since I had to play it, I gave it thought," he 
told me. "I realized that to 'go overboard' on playing a 
kid role would ruin it. So I studied the youth of the early 
twenties of today — and I learned something. . . . 

"I learned that the more you see and the more you 
study and understand these 'kids' of twenty and twenty- 
two, the more you realize that they're pretty grown-up. 
They're serious-minded. They're real. They've really 
stopped being kids. And I found that there's really no 
real gap between the thoughts and ideas of a man of 
twenty-two and a man of my own age. 

"And so I played the role straight. I didn't try to 
'play down' to the twenty-year-old level. That would 


The star of Anthony Adverse ana- 
lyzes love . . . and women . . . and the 
most difficult role he has ever played 

have been a mistake. I let the twenty-two-year-old 
Anthony Adverse be an adult. A romantic adult, but an 
adult nevertheless. But I did let his bewilderment remain 
— not because that bewilderment is a necessary part of 
being twenty-two years old, but because it was a neces- 
sary part of Anthony Adverse. You see, that is the 
whole story of Anthony — 

"He is an illegitimate child. He knows it. He is 
deeply conscious of it. And so he goes through life and 
the world, seeking, questing, always hunting for some 
unnamed something, the lack of which he feels. In that 
quest, he turns most naturally to woman for the solace 
and the surcease from bewilderment which he craves. 
And that is why he has these affairs. . . . 

"And that is why women love him — not alone the 
women in the story, but today's women, too, who will see 
him on the screen." 

I put in a remark: 

"But the critics say," I told him, "that women in the 
audience will resent his affairs and his conquests of 

He laughed. 

"They will not," he said. "They will be wholly in 
sympathy with him — and, too, with the women who give 
him the love and help he so sorely needs. Because every 
woman today, meeting Anthony Adverse in real life, 
would feel the same sympathy for him. 

"You see, Anthony is the irresponsible, 'lost' type of 
good-looking young man, for whom every woman in the 
world finds affection. It's not the mother-instinct you hear 
so much about. It's something different. Every woman 
instinctively feels responsible for every man she comes 
in close contact with. Let's say, instead of feeling she 
wants to 'mother' him, that she has the instinctive and sub- 
conscious desire to reform him. [Continued on page 68] 




A list of stores in your city who feature LETTIE LEE sowns will be found on page 85 

Street scene — with a wind machine 

Come To Hollywood! 

ALL ABOARD for Hollywood and points West ! 
Movie Classic's second annual Movieland Tour will leave Chicago July 19, the 
big special train headed West for the most exciting two week's vacation ever 
planned ! 

Chugging through the great Northwest, the Tour will come down the Pacific Coast 
from Seattle, through San Francisco, to HOLLYWOOD ! Arriving here Sunday, 
July 26, there will be four glorious days of parties and sightseeing in the capitol of 

Mecca of the world, Hollywood will open its doors to Classic's visitors. You will 
be kings and queens of the celluloid city, visiting the studios, dining and dancing with 
the stars, going on sightseeing tours everywhere. 

You'll no more than have a chance to catch your breath Sunday, when the Fawcett 
Magazines' and Motion Picture Publications' Surprise Party gets underway. That spot 
you're all read about, the famous Brass Rail, will be the scene of the first festivities. 

Monday has been set aside for a tour of the beautiful 20th Century-Fox studio in 
Westwood hills, where Darryl Zanuck is making one box-office smash hit after another. 
Here's the home lot of Shirley Temple, Number One star of the world ; here Ronald 
Colman, Warner Baxter, Loretta Young. Gloria Stuart, Rochelle Hudson, John Boles, 
Claire Trevor, June Lang, Alice Faye, Victor McLaglen and a host of other great 
luminaries make their pictures. On this lot have recently been made Captain January 
with Shirley, Message to Garcia with John Boles and Wallace Beery, Prisoner of Shark 
Island with Warner Baxter and Gloria Stuart. McLaglen and Colman are making 
Under Two Flags, and many films will be in production during the summer. Our party 
will have a special guide, souvenir programs will be issued, and stars will be on hand 
to welcome you. 

In the evening another banquet (you'll gain weight on this trip, we fear!) at the 
Biltmore Bowl, night spot in the heart of Los Angeles. The Biltmore Hotel is making 
arrangements for a big program there, with Jimmy Grier's orchestra, and there'll be 
dining and dancing all evening. A special table will be provided for hosts and hostesses 
from the movie colony who will be on hand to see that you have a grand time, and enjoy 
every minute. 

Then, on Tuesday, Paula Stone, Warner Brothers' player and daughter of that grand 
star of Broadway and Hollywood, Fred Stone, will be hostess at a big afternoon party 
at her home. Here will be another chance for you to mingle with the stars, just as we 
did at the Raquel Torres party last year, getting autographs, having your pictures taken 
with the stars, and getting acquainted with those you have admired on the screen. Be 
sure to bring your kodaks and plenty of film ! [Continued on page 72] 

The big iron gate so hard to crash 

Luncheon at the Tennis Club 






How a courageous London working 

girl overcame seemingly hopeless 

handicaps and lifted herself to beauty, 

fame and stardom 


SO YOU are a weeping Cinderella waiting- for a Miracu- 
lous Midnight? 

So you spend your odd moments dreaming of Fame 
and Fortune and mourning over your shortcomings ? 

There is a girl in Hollywood — Binnie Barnes — who prob- 
ably had more difficulties to overcome than you, or you, or 
you ! 

In the Universal picture, Sutter's Gold — the brilliant saga 
of California's discoverer of gold, and of the history-making 
days of '49 — you will see her opposite Edward Arnold. An 
amazinglv vital person. A woman poised and sure and beau- 

Today fame and fortune and beauty are hers. Because she 
had the courage to work for beauty, to work for fortune, to 
work for fame ! 

Binnie was by no means a beautiful child. She was a rather 
unattractive adolescent; gawkily tall; handicapped by a lim- 
ited education and a cockney accent that immediately denned 
her humble background. 

As she grew older Binnie Barnes realized: that she must 
change her voice and accent, that she knew nothing about 
clothes, that her education was too meager for success, that 
she was not taking advantage of her height, her broad shoul- 
ders, her slim legs and her potentially lovely hair. 

Today Binnie Barnes is a beautiful girl ! More important 
still, she is a dynamic, alluring personality. 

She changed not only her circumstances, but herself as a 
person. As every woman could do ! As you can do if you 
have a will to learn, the courage to appraise your faults cor- 
rectly, and the good sense to evaluate your assets and to capi- 
talize on them. 

"I had been a tomboy most of my life," said Binnie. "I re- 
member when I was working near London as a milk-maid 
for the Finchley Manor Farm — I must have been about fif- 
teen then. My hair was cropped like a boy's. I was always 
wearing overalls. I was not by any means, a beautiful sight 
to behold. But when, after a succession of jobs, I began 
dancing for a living, I realized how many things there were 
about me which required changing." 

And so here is the first rule for you who want to succeed : 
Be honest with yourself ! 

"I had very little education as a child. We were desperate- 
ly poor. And before I could do anything else I knew that 
I must make up quickly for that limited knowledge of mine. 
So I saved every penny I made in the dance halls, and then 
went to France for an intensive course at a private school. 

"When I came back to London I really began taking stock 
of my appearance and counting my other handicaps ! 

''My worst one was my cockney accent. It was so thick 
you could cut it with a knife. No matter what my ambition 
was, my speech, I knew, had to be instantly corrected. 

"I went to all of the phonograph shops, and bought all the 
records on which speeches or recitations or lessons in English 
were recorded. I bought a tiny victrola. And during every 
spare minute I had that victrola was going. 

From the moment I was up in the morning I would be at it. 
And all through dressing and breakfast and whatever house- 
hold duties I had, I would listen closely. Sometimes I would 
stop the needle and go back, trying to enunciate some word, 
listening again to a certain phrase. 

"Of course, I listened to people around me. At the night 
clubs where I danced, when I encountered people who spoke 
purely and clearly, who had [Continued on page 82] 

/ WtSfll COULD 







PEG6 Y B ~- JU 5T WA IT, 
Till you SEE how: 








—cceabs me s#Ut 

by clearing skin irritants 
out of the blood 

Copyright, 1936, Standard Brands Incorporated 

Don't let Adolescent Pimples keep 
YOU from looking your best 

JUST when good looks make such a difference 
in good times — from about 13 to 25 years of 
age, or even longer — many young people become 
afflicted with ugly pimples. 

During this time, after the beginning of adoles- 
cence, important glands develop and final growth 
takes place. This causes disturbances throughout 
the body. The skin, especially, becomes over- 
sensitive. Waste poisons in the blood irritate this 
sensitive skin and pimples appear. 

Fleischmann's fresh Yeast helps to give you 
back a good complexion by clearing these skin 
irritants out of the blood. Then — pimples go! 

Eat it regularly — 3 cakes a day, before meals, 
plain, or in a little water — until your skin is en- 
tirely clear. Start today! 

Movie Classic for May, 1936 



Follow the stars' advice and yours can be just as lovely. 

Make up your mind this spring that you are going to have a permanent wave 
with the same radiant natural beauty as those you see on the screen. You 
can, too, if you will demand and make sure you get a genuine Duart Wave. 
The Motion Picture Hairstylists Guild, world's most distinguished hair- 
stylists, endorse the Duart Wave exclusively. They say, "We have tested 
every known waving method but have found none to equal Duart in giving 
the hair such glowing brilliance, deep lustrous waves and dainty ringlets.' 

To add a flashing touch of sunlight, use Duart's Hollywood Hair Rinse. One 
of the twelve beautiful shades will match your hair. No dye . . . No bleach. 
Send the coupon below and 10 cents for a full size package of rinse and get 
your FREE BOOK of Hollywood stars' new spring hairstyles. 


fjermaneni leaves 


DUART. 984 Folsom Street, San Francisco, FOR A GENUINE DUART WAVE 

Calif. Enclosed find 10c: send me shade 

of rinse marked and copy of your booklet, __„,., 

"Hollywood Coiffures for 1936." 

Name .- 

Address * 

City Stare 

QDark □ Henna D Black D Medium 
Brown _ . , „ ,,,, ..- Brown 

□ Chestnut Golden Q White .r Q d 

Brown (r>i„t;„,,™l Blonae 

□ Titian Q Titian Q Light • 
Reddish Reddish □ Ash Golden 
Brown Blonde Blonde Blonde 




Spring is the time to look for new hairstyles 
and new beauty ideas so I decided to visit 
several of the leading lights of the Motion 
Picture Hairstylists Guild. The members of 
this organization compose the hairstyling 
departments of every studio in Hollywood. 
They are the most distinguished, most highly 
paid group of hairstylists and beauticians in. 
the world today. Every lovely star you see 
on the screen has been beautified by a Guild 
member. It has been said that this Guild is 
Hollywood's "Book of Knowledge" on 

At Paramount Studios I talked 
with Leonore Sabine, the head 
hairstylist who is responsible for 
the lovely glamorous coiffures 
worn by such stars as Carole 
Lombard and Marlene Dietrich. Miss Sabine 
is president of the Motion Picture Hair- 
stylists Guild. We discussed permanent 
waves and I asked why the stars always 
have beautiful waves, while so many of us 
ordinary mortals feel we have to depend 
partly on luck. Miss Sabine replied: 

"Of course the stars cannot afford to trust 
to luck but any woman can be equally cer- 
tain of a beautiful permanent if she will have 
her hair waved by the method selected by 
the stars." 

At United Artists Studio I asked 
head hairstylist Nina Roberts 
for more information. She it was 
who cut off those famous curls 
when Mary Pickford decided to 
wear a bob. Also to her credit are the famed 
Merle Oberon hairstyles. When I asked 
what waving methods are being used by the 
stars, she replied: 

"We have tried them all but nearly every 
star you see on the screen has her hair waved 
by the Duart method, for only Duart gives 
individual heat control to each curl. In the 
Duart method each heater is regulated by a 
separate thermostat and the smaller curls 
get less heat than the larger ones. This pro- 


Movie Classic for May, 1936 


duces an absolutely uniform wave with 
never a danger of those ugly frizzy ends." 

Thanking Miss Roberts for this 

lIB^fc, valuable bit of information, I 
^h,**P humed over to see Helen Hunt, 

«5S head hairstylist at the nearby 

' Columbia Studios. When I ar- 
rived Miss Hunt was designing a new hair- 
style creation for Grace Moore, whom you 
will soon see with Franchot Tone in "Cissy." 
When I told her that I was looking for 
beauty news, she replied: 

"Well, you'll live a long time before you 
get any bigger news than this," and she 
handed me an attractive jar labeled "Creme 
of Milk." "Here at last is what every woman 
in the world has been looking for," she con- 
tinued. "It is a beauty creme actually made 
from milk. Real, honest to goodness, pure, 
fresh, dairy milk! Hollywood's cosmeticians 
say it is the greatest scientific discovery ever 
made in cosmetics. Already you will find 
this new creme on the dressing table of 
almost every star in Hollywood and of 
course Y e hairstylists are using it too and 
telling all our friends about it." 

Never have I seen anyone in Hollywood 
show such enthusiasm over a new beauty 
product, for here we have a cosmetic factory 
on every block and some sort of a new cream 
is born every minute. But never before has 
anyone succeeded in making a beauty creme 
from milk, the finest skin beautifier that has 
ever been known. This new product is being 
advertised on this page for the first time 
anywhere- — better send for a jar. 

I haven't space here to tell you about my 
visits to the other studios but all the hair- 
styles I selected are in the book shown above. 
It is packed full of the smartest, most allur- 
ing coiffures Hollywood has ever produced. 
Send for this book and take it to your hair- 
dresser — she will be able to copy one of the 
hairstyles for you. In the Duart Permanent 
Wave advertisement at the left, there is a 
coupon which you may use to send for this 

Hollywood Cosmeticians 
Wildly Praise 

made from 

Screen stars, Hollywood cosmeticians, and beauty editors pronounce Creme 
of Milk the greatest scientific cosmetic discovery ever made. Think of it — all 
the famous beautifying qualities of pure fresh dairy milk have been com- 
pounded in the form of a new all-purpose facial creme. Now in this one 
amazing creme made from milk 3^ou will find everything you need to cleanse 
your skin more thoroughly than ever before, and to banish dryness, rough- 
ness and blemishes. Your skin will be kept so smooth and soft that your 
powder will cling perfectly for hours and hours. No other powder base will 
be necessary. 

Hollywood has taken Creme of Milk right to its very heart. The Head Hair- 
stylists at United Artists, Paramount, Columbia, MGM, and Universal 
Studios report that already a jar of Creme of Milk is to be found in almost 
every star's dressing room. 

"All are enthusiastic," say the hairstylists, "about the discovery of Creme 
of Milk and are using it to remove their makeup and protect their skins from 
the loss of natural oil which occurs with the use of ordinary cremes." 

You can begin to enjoy this thrilling new beauty creme at once. Mail your 
coupon today! Creme of Milk is so new stores haven't yet had a chance to 
buy it. So we are sending' a full 20-cent size jar for only 10 cents. 


creme of mil 

aLL'purpose racial creme 



20c SIZE JAR . . . SEND 50c 



DUART. 984 Folsora Street. San Francisco. Calif. 

I enclose (10c), (50c). (SI. 00) ior which please send me 
one jar ol Creme of Milk at once. 

Name ... 

Address — 

City State 

Movie Classic for May, 1936 


AGE 10 


HALF WAY tootkjbCttte 

Don't waste another day on half way- 
dental care. Superficial cleansing may 
keep your teeth white — for a while! 
But when your neglected gums grow 
soft and tender, all the half way 
measures in the world won't preserve 
your teeth. 

Now — while your teeth are still firm 
and sound — replace half way care 
with the tooth paste that does both 
jobs. Forhan's whitens your teeth and 
fights the menace of 
spongy gums at the 
same time. 

M tie GUM 


Why quit half way 
in caring for your teeth 
when Forhan's gives 
two-fold protection at 
the price of most or- 
dinary tooth pastes? 
Be safe. Get Forhan's 


does (cleans teeth 



The Beauty Thrill of 1 936 

Get Your Name On The 

^eaU^uiA MAILING liST 

For Only 10c in Stamps or Coin Write 

P. O. Box 25, Quincy, Mass, 

sabel Jewell, no big- 
ger than a minute, 
tells how to over- 
come the handicaps 
of small stature 


SIZE is no handicap to Isabel 
Jewell. She refuses to let the 
world think of her as a tiny 
person. Actually she is one of the 
smallest stars of the screen, but what 
Isabel lacks in stature and advoirdu- 
pois, she makes up in brains. She 
has considered the problem of tiny 
women from every angle and was 
more than delighted when I asked 
her to outline her ideas on the sub- 

"I was always little." she said, 
"and when I was a child on our 
ranch in Wyoming, someone was al- 
ways telling me I couldn't ride such 
and such a bad horse because I was 
too little. My favorite answer was 
that while I might be little, I was 
wirey and then I'd ride the horse, 
just to show them I could." 

Napoleon was a little man but he 
did quite well, insists Isabel, and so 

Movie Classic for Mav, 1936 

Isabel Jewell, skyrocketing to new 
screen fame, is one of Hollywood's 
smallest girls. Left: Beverly Roberts and 
Isabel Jewell take time out for a sun- 
bath while vacationing in Palm Springs 

did Queen Victoria who also was 
small of stature. Isabel has her own 
rules for making herself seem nor- 
mal in size and here is the way she 
gave them to me. 

"Never, never talk baby talk if 
you are a small girl," she insists, 
"and never act coy. Never think of 
yourself as being small. When I 
meet men, no matter if they are well 
over six feet, I make it a point to 
keep my eyes on theirs and to modu- 
late my voice to its lowest. A low, 
resonant voice makes a big impres- 
sion while one that is babyish or 
high, only intensifies one's small- 

Strangely enough, until Isabel 
pointed it out to me, she had never 
impressed me as being so tiny on the 
screen. Do you remember her grand 
role in Tale of Two Cities? As she 
sat there in the tumbril, on the way 
to the guillotine, and swayed the 
hearts of the audience with her pa- 
thos did you think of her as being 
small ? 

"I always keep my chin high," she 
continued, "for one who is small 
cannot afford to be meek and shy. 
My clothes too are carefully selected 
to off-set any suggestion of coyness 
and child-like demureness. I avoid 
all ruffles and select clothes which 
have straight, long lines. I wear 
size twelve [Continued on page 79] 


vw can 


Color Harmony Powder 
Gives New Beauty 

Powder in your color harmony 
shade can give you more beauty 
than other shades,"says Ginger Rog- 
ers, "because it is created to enliven 
your skin with youthful radiance. It 
beautifies through the magic of color 
harmony, a secret originated by Max 
Factor." If you want new loveliness, 
try Max Factor's Powder in the color 
harmony shade for your type. Max 
Factor's Face Powder $i. 


a thousand women a day 

write Ginger Rogers 


o the many requests for advice on beauty, Ginger Rogers gives 
one answer,"The secret of beauty for every woman lies in color 
harmony make-up, originated by Max Factor, Hollywood's make- 
up genius, and consists of powder, rouge and lipstick created in 
harmonized shades that dramatize the charm of every type." 

\_Jutqct v^o-aet* 

in R. K. O. s 


New Lip Make-Up Gives Lips Lasting Color 

Max Factor's Super-Indelible Lipstick in the color harmony shade for 
your type will give you an alluring, lasting color. Being moisture-proof, 
you may apply it to both inner and outer surface of the lips. This gives them 
an even color,keeps them smooth. Max Factor's Super-Indelible Lipstick$ i . 

axTacior * TTolluwood 

Would you like to try Hollywood's make-up secret — powder, 
rouge, lipstick in your color harmony shade ? Mail coupon below. 

Rouge that Imparts Youthful Charm j'|g"£ pffifuSra Si* U»f«l WWW 

Screen stars," says Ginger Rogers, "use Max Factor's 
Rouge, because the color harmony shades add an exquisite 
lifelike color that harmonizes with the powder and lipstick." If 
you want to see what a difference it makes to use a color created 
to dramatize your type, try Max Factor's Rouge in your color har- 
mony shade. Max Factor's Rouge 50^. © 1 9i 6 Max Factor & Co. 

, MAX FACTOR. Max Factor's Make-Up Studio. Hollywood: 
> Send Purse-Size Box of Powder and Rouge Sampler in my color harmony shade; 
' also Lipstick Color Sampler, four shades. I enclose len cents for postage 
J and handling. Also send me my Color Harmony Make-Up Char and -Uipac- 
, Illustrated Instruction book, "The New Art of Society Make-Up".- FREE. 
■ 5-5-4 



Very L,ght_ 

Fair D 

Creamy D 

Medium D 








L.ght„D Darfc.JD 

Light. _D D»flt._D 

Light. _D Dirk-.O 

Light. _□ D«!c._D 

v.- - 

Movie Classic for May, 1936 



Without Cost— Make This 

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help you. It just isn't turned into flesh. The result is, 
you stay weak and nervous, tired out and skinny. 

The most important gland — the one which actually con- 
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to be confused with chemical iodides which often prove 
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To get this vital mineral in convenient, concentrated 
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Make this test with Kelpamalt. First weigh yourself 
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tablets — four to five times the size of ordinary tablets — 
cost but a few cents a day to use. Get Seedol Kelpamalt 
today. Kelpamalt costs but little at all good drug stores. 
If your dealer has not yet received his supply, send $1.00 
for special introductory size bottle of 65 tablets to the 
address below. 


Write today for fascinating instructive 50-pa^e book on 
How to Add Weight Quickly. Mineral contents of Food 
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NATURAL IODINE. Standard weight and measurement 
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free. No obligation. Kelpamalt Co., Dept. 774, 27-33 
West 20th St., New York City. 



Manufacturer's Note: — Inferior products, sold as kelp and 
malt preparations — in imitation of the genuine Seedol 
Kelpamalt are being offered as substitutes. The Kelpamalt 
Company will reward for information covering any case 
where an imitation product has been represented as the 
original Seedol Kelpamalt. Don't be fooled. Demand 
genuine Seedol Kelpamalt Tablets. They are easily assimi- 
lated, do not upset stomach nor injure teeth. Results 
guaranteed or money back. 

Hollywood Highlights 

Our Star Reporter Sees All, Hears All and Tells All in This 
Revealing Glimpse of Hollywood at Work and at Play 

by Hcdda Hopper 

I HEARD a nifty the other night 
that I'll pass on to you. Mrs. 
Herman Mankiewicz, the wife of 
one of the ace writers at Metro-Gold- 
wyn-Mayer Studios, wanted a trip to 
New York, but she didn't want to 
leave hubby in the big house, so she 
rented the house, got him an apart- 
ment, installed a cook, and sailed 
away. Well, Herman took a gang 
home to celebrate, but the dinner was 
not up to par, and the next day on 
the lot, he ran into his brother, Joe, 
and poured out his woes. Joe cracked 
out with, "well, what kind of a cook 
do you expect from the Pinkerton 
Detective Agency?" 

Which reminds me of the story 
about the director and his girl friend. 
They were "devoted" for about three 
years, but couldn't make up their 
minds to say those fatal words, " 'Till 
death do us part." One dismal morn- 
ing, after a very gay evening at the 
Trocadero, the girl's best friend called 
her and said, "Dearie, did you know 
so-and-so got married this morning?" 
The girl in question said, "Don't be 
silly. We had a swell evening and 
never got home until six A.M. But 
I'll call him up just the same." And 
she did ! And repeated the silly ru- 
mor. His reply was, "Yes, darling, 
it's true, but you see, sweetheart, 
that's the picture business !" 

The Serious Side 

Now I'm convinced that's what the 
public expects of Hollywood. Try to 
tell them it's a hard-working village 

and they laugh in your face. Why, 
the other day at high noon, at Holly- 
wood Boulevard and Vine Street, a 
policeman was killed and another in- 
jured. The murderer was shot and 
will probably die. All because a man 
loved a telephone operator and 
couldn't live without her. If they had 
been connected with the picture busi- 
ness, the circulation of all the news- 
papers in the land would have reached 
a new high. 

Which brings me back to darling 
Thelma Todd, who loved life and 
never harmed any living thing. And 
Jack Gilbert's will, which should be 
inscribed in the forecourt of Grau- 
man's Chinese Theatre so that all 
could read and ponder. He was called 
all sorts of names, but in his will he 
remembered everyone who had ever 
been kind to him. I remember Jack 
so well in his first talking picture. 
One Glorious Night. He worked so 
hard, held his head so high, but the 
look of fear never left his eyes. He 
had to do silly, stupid, long love 
scenes with a girl who had no more 
warmth than an iceberg. He knew 
they were bad, but it was a new me- 
dium and Lionel Barrymore, the di- 
rector, after spending a life-time on 
the stage, should have known more 
about it than Jack. But it turned out 
that he didn't, and Jack was lost. 

A Haunted Cafe 

They have torn down the old com- 
missary on the Metro-Goldwyn-May- 
ei lot and are building a bigger and 


Jean Arthur celebrates the ar- 
rival of spring by taking a dip 
in her private swimming pool 

Movie Classic for May. 1936 

Jean Harlow, William Powell and 
Marion Davies watch the thorough- 
bred speedsters at Santa Anita 

Hedda Hopper, celebrated actress, veteran 
Hollywoodite and popular member of the 
Film Colony's social clique, will be a 
monthly contributor to MOVIE CLASSIC 

better eatery, but I'm thinking that 
many ghosts will haunt the old place 
if they try to go fancy or high-hat. 
In that old restaurant, where the stars 
mingled with the extras with 
cheery, "Hello, how's the old world 
treating you these days?", the spirits 
of Marie Dressier, Lon Chaney, Karl 
Dane, Paul Bern. Thelma Todd, and 
Jack Gilbert still hover. And here 
every morning, for his cup of coffee, 
comes Clark Gable, just as he did 
when he was an extra struggling up 
the ladder. He still enjoys having 
breakfast with "the gang," which 
means the carpenters, the grips, and 
the electricians. He says it starts his 
day off right. 

A Favorite Returns 

I had a bit of work in Dracula's 
Daughter at Universal. A newcomer 
named Gloria Holden plays the lead. 
She certainly looked spooky, but be- 
tween scenes she sits and knits ! Mar- 
garet Churchill plays the love interest. 
She's blossomed into a lovely girl 
since her happy marriage to George 
O'Brien, and says, with a twinkle in 
her eye, "Can you imagine my daugh- 
ter's surprise when she grows up to 
find that I took a day off from Dracu- 
la's Daughter to have her chris- 
tened?" She named her Orin 
O'Brien. And then we discovered that 
our director, Mr. Hilliard, had di- 
rected the first picture George 
O'Brien ever made. George strapped 
faked fins on his back and played a 
shark ! He did the underwater swim- 
ming scenes for one of the early 

While walking over to the set, a 
big black lady sitting in a glorious 
Cadillac limousine, waved at me as I 
passed by. I looked and looked, and 
I'll be darned [Continued on page 60] 



Most Bad Breath Beginsj 
with the Teeth ! 

MILLIONS realize how true this is, and use 
Colgate Dental Cream for real protection. 
Its special penetrating foam removes decaying 
food deposits lodged between the teeth, along the 
gums, and around the tongue — which dentists 
agree cause most bad breath. At the same time, a 
unique, grit-free ingredient polishes enamel — 
makes teeth sparkle. 

Try Colgate Dental Cream — today! Brush your 
teeth, your gums, your tongue, with Colgate's. If 
you are not entirely satisfied after using one tube, 
send the empty tube to COLGATE, Jersey City, 
N. J. We will refund TWICE what you paid. 

behind hi* 




Movie Classic for May, 1936 






You get back 2 J /2 times your money's 
worth if Luxor moisture-proof pow- 
der is not shine-proof on your skin. 

• Shiny nose is the reason most women use 
powder, which explains why 6,000,000 women 
prefer Luxor already. It has the magical effect 
of combatting skin shine in the critical place 
where any powder shows its first sign of fail- 
ure—around the nose. 

Now only a trial will convince you of this. 
We know, because among 5,000 women re- 
cently, more than half using a sample of Luxor 
liked it better than their present powder. 

2 ! /2 times your money's worth back! 

Get the regular 55c package of Luxor at any 
cosmetic counter. Choose any one of the 
flattering shades best suited to your type. 
"Wrapped with the Luxor package is our gift 
to you, a 2-dram bottle of La Richesse Perfume 
selling regularly for $3 an ounce in the stores. 

Then give Luxor the severe test we have 
mentioned. If it does not satisfy you better 
than any powder you have ever used, keep 
the flacon of La Richesse Perfume worth 75c 
and mail us the partially used box of Luxor 
face powder. We will send you our check for 
the 55c you paid, plus the postage. 

Thus with the 75c gift of perfume, plus our 
check for 55c you get 25-^ times what you 
paid for Luxor if you are not satisfied. Act now! 

-piece make-up kit! 

Try Amazing 
New Luxor 
Hand Cream 

This marvelous 
new skin softener 
keeps hands soft, 
white, smooth. It 
is guaranteed non- 
eticky and dries 
instantly. At all 
cosmetic counters. 

Luxor, Ltd., 1355 W. 31st Street 
Chicago, Illinois Dept. H-5 

Please send me your 4-piece make- 
up kit including generous amount of 
Luxor Moisture-Proof Powder, Lux- 
or Rouge, Luxor Special Formula 
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$1,000 For An Idea! 

{Continued from page 10] 

ing opposite him, leaned casually against 
a chair: Roland Young stood behind the 
British blond, with others in the back- 

Remember the Bison emblem, which 
Tom Ince used on his 'Westerns', made 
at Inceville, in the early days of Holly- 
wood ?" queried Tom Ricketts, pioneer 
picture actor and ace-director. "It ap- 
peared not only at the beginning, but was 
smeared all over the picture. That was 
done to prevent unprincipled rivals from 
sniping 'shots' and sequences, as was 
frequently done in those days." 

Harry Myers, whose experience in 
Filmdom goes back to the Mack Sennett 
regime at Edendale recalled the origin 
of the Triangle Film Company's popu- 
lar trade-mark — a triangle with the 
names of Griffith, Ince and Sennett 
flanking the three sides. 

Lorimer Johnson, another player 
whose memory goes back to the genesis 
of the film industry, brought up the Lib- 
erty Bell emblem used by Lubin. "Lubin 
lived in Philadelphia and he knew how 
dear to the people's heart the Liberty 
Bell was," Johnson explained, "so he 
appropriated it, putting his name under- 
neath in bold letters." 

Of course Miss Pickford and Mr. 
Lasky are fully capable of inventing an 
appropriate design for their pictures ; 
but they have asked Fawcett Publica- 
tions, through the 3,000,000 readers of 
and MOTION PICTURE, to help them 
invent a really original trade-mark. 
There are several very good reasons for 

First, Pickford-Lasky seeks to cap- 
ture wide public interest for its produc- 
tions. It is felt that the films are deeply 
indebted to the people for their loyalty 
and support. 

Second, there is a feeling that the 
people in the industry are too close to 
it for the fresh inspiration which Miss 
Pickford and Mr. Lasky want their 
trade-mark to express. They believe 
that some outsider will have just the 
right idea they seek. 

The entries will all be passed on by 
Miss Pickford, Mr. Lasky and Capt. 
Roscoe Fawcett, who constitute the 
board of judges. Time being the es- 
sence of all things, as Mr. Lasky points 
out, contestants are urged not to delay 
sending in their suggestions, conform- 
ing to the conditions here stated. The 
sooner your idea is received, the more 
careful consideration can it be given. 

The most effective trade-marks are 
simple in design and construction. They 
must definitely stand for the product 
they are intended to identify and ad- 
vertise, either directly or by happy sug- 
gestion. Pickford-Lasky's pictures will 
be made for the world-market. They 
will strive to be entertainment plus — 
pictures you can't forget ! 

Wherever music can be incorporated 

into the plot-structure, it will be used, 
because it is recognized as the language 
of widest appeal. One Rainy Afternoon, 
the first Pickford-Lasky production, 
which is now nearing completion, is a 
fine example of the company's ideal. It 
is a bright comedy-romance of modern 
Parisian life. Besides Lederer and Miss 
Lupino, the cast includes Roland 
Young, Hugh Herbert, Joseph Caw- 
thorn, Countess Liev de Maigret, Eily 
Malyon, Georgia Caine — all of them 
names to conjure with. 

"Only four major productions a year 
will be made by Pickford-Lasky," said 
Mr. Lasky, "as 'mass-production' is 
furthermost from our minds. If possible, 
something of these aims and ideals 
should be suggested in the trade-mark." 

Somewhere in the ether, there is an 
idea at large which embodies these char- 
acteristics. The contestant who gets on 
that wave-length will win the Grand 
Prize of $500. There are also five in- 
dividual prizes of $100 which will be 
awarded to the best suggestion received 
by each of the five Fawcett magazines. 
Thus the final victor will really get $600 
for his time and thought on behalf of 
Pickford-Lasky. And he will experience 
an added thrill every time he sees his 
brain-child on the billboard, in the news- 
paper advertising and on the screen, in 
connection with all the pictures Mary 
Pickford and Jesse L. Lasky make. 

Read carefully the following condi- 
tions of the trade-mark contest and 
then send in your idea of what will make 
the best emblem for Pickford-Lasky Pro- 
ductions, pronto! 

1. The contest opens February 1st and 
closes April 15th, 1936. 

2. All persons are eligible to compete, 
regardless of whether they are sub- 
scribers or regular readers, except 
employees of Fawcett Publications, 
Inc., Motion Picture Publications, 
Inc., and Pickford-Lasky Produc- 
tions, Inc., and their families. 

3. It is not necessary to submit a draw- 
ing of your suggested trade-mark, if 
you describe it adequately in words. 

4. Do not submit fanciful or decorated 
designs, and send your letter to the 
magazine in which you read about 
the contest. 

5. Winners will be announced as soon 
after the contest closes as possible. 
Watch this magazine for the exact 

6. In case of ties, duplicate prizes will 
be awarded. 

7. Address your entries to Trade- 
mark Contest Editor, MOVIE 

CLASSIC Magazine, 7046 Holly- 
wood Blvd., Hollywood, Calif. 

8. The decision of the judges will be 
final. No entries will be returned. 

9. Prize-winners agree to sign over to 
Pickford-Lasky Productions, Inc., 
all rights and title to winning entries, 
and to accept the prize-money as 
full compensation for the same. 


Movie Classic for May, 1936 


are the 



NAIRE CONTEST brought a ver- 
itable storm of entries. They were read 
with the keenest interest and many of the 
story titles suggested on your entry blanks 
will be found during the next few months 
in Movie Classic. The tremendous task 
of mailing the promised photographs of 
Norma Shearer as Juliet is now underway 
and we trust that by the time this maga- 
zine reaches the newsstands, each contest- 
ant will have received his or her picture. 

And here are the prize winners : 

First Prize of $25— Mrs. Jacob G. Smith, 
602 Crossett St., Syracuse, New York. 

Second Prize of $10 — Helaine B. Leschin- 
sky, 124 Fourth St., Passaic, New Jersev. 

Third Prize of $5— Mrs. F. C. Wester, 
Sulphur Springs, Texas. 

Fourth to Thirteenth Prizes of $1 each — 
Marilvn Milner, 1601 Libertv St., Alton, 
111.; Lillie Belle Baker, Rt. l.Box 36, Cor- 
sicana, Texas; Jeanne Tobolka, 671 E. 158 
St., Bronx, New York ; Venice Childers, 
2644 Jackson, Chicago, 111. ; Aobin Adair, 
1430 Laurel Ave., Hollywood, Cal. ; Gladys 
Skiba, 4813 S. Seelev Ave., Chicago, 111. ; 
Mrs. W. G. Damery, 29 Duke St., St. John, 
New Brunswick, Canada ; Jack Jones, 330 
Park St., Bristol, Virginia ; Margaret E. 
Marrer, 117 Pennsylvania Ave. W., Warren, 
Pa. ; and Zelda Ketchum, Thompson, Illi- 

It's a fear that every woman dreads — 
that fear of embarrassment. Over and 
over again, you've said — "I wish I could 
be completely safe!" 

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the new and utterly different sanitary 
pad — is here! It's certain-safe! It stays 
soft! It stays safe! 


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ask for Certain-Safe 


The Improved Sanitary Pad 

Try N-O-V-0 — the safe, easy-to-use, douche powder in its new Blue and Silver Box. 
Cleanses! Deodorizes! (Not a contraceptive.) At your drug or department store 

Movie Classic for May, 1936 


Hollywood Highlights 

[Continued from page 57] 


$1260 to $2100 Year 


Men — Women 

New 40-hour week 
means many 

/ Dept. H306 

' Rochester, N. Y. 

. ' Rush FREE list of TJ. S. 
^ Government big pay JOBS, 32- 
^ page book describing salaries, 
>5 hours, work. Tell me how to get 
p one of these jobs. 

Mail Coupon 
Today — 

/ Name 

if it wasn't Irene Dunne all dune up 
in burnt cork to do a scene for Show 
Boat! What price art? 

Bill Rogers' Souvenirs 

I went yesterday to call on Mrs. Will 
Rogers. What a magnificent, simple 
woman she is ! The living-room was 
aflame with all the mementoes of Will's 
busy life. Silver-trimmed saddles from 
every country in the world, even China 
and Japan ; keys, big and little, for most 
of the cities in America ; an invitation 
from the Prince of Wales ; another from 
the late King George ; paintings, water- 
colors and sculptures by Russell, the 
famous cowboy artist. And there, hang- 
ing in a row, the chaps worn by his 
children when they were youngsters. 

Joe Davidson, the famous sculptor, 
is out here to do a bust of Will. It 
should have been done years ago, but 
Will never had time. I met Mr. David- 
son at a dinner the other night. You 
know Joe is a marvel — looks like a lion 
with that great shaggy beard of his. 
One of the young players, thinking he 
was an actor who had grown hair for 
some part he was about to play, called 
out to him, "Come on over here, Toots, 
and tell me all about yourself !" 

A Barrymore's Retort 

Speaking of the Barrymores, it was 
Lionel who took over brother Jack's 
missing bonds and stocks and tucked 
them away for safe-keeping. I hear 
that Jack is running away with the 
Norma Shearer picture, Romeo and 
Juliet. Jack had an offer to do Hamlet 
over the radio, but the stipend didn't 
meet with his approval and he wired 
back, "Thanks for your telegram, but 
I'm afraid you're selling Hamlet rather 
short Stop With all good wishes, allow 
me to say that good Hamlets are scarcer 
than good authors." 

Speaking of Hamlet, Leslie Howard 
has become an excellent swordsman at 
Metro-Goldwyn-Mayer's expense, so 
when he opens on Broadway that part 
of it will be pat anyway. I understand 
the balcony in Romeo and Juliet is so 
high above the studio stage that they 
have engaged a human fly to double for 
Romeo's ups and downs, but when it's 
all finished, you can bet your last dollar 
it will be a thing of beauty. Norma has 
never failed, and you've got to admire 
her courage. 

Claudette Breaks a Record 

Speaking of stars, I understand that 
Claudette Colbert built her new home 
on Federal Home Loan, and that her 
salary of one hundred and fifty-thousand 
dollars for Under Two Flags is a new 
all-time high. Her recent marriage to 
Dr. Joel Pressman will cut down her 
high rate of income tax. Believe it or 
not, a top salary star, saves about 
$30,000 a year by being married. 

Understand Mae West doesn't own a 

motor car — the risk is too great. People 
have been known to throw themselves in 
front and behind of stars' cars to collect 
insurance. In fact, it's a new Hollywood 
racket. You might like to know there's 
a tiny church midway between Mae's 
apartment and the studio, and some time 
during each day Mae stops by to light 
a candle and say a prayer for her good 
luck. Hope this won't hurt her rating 
since she became Public Envy Num- 
ber I ! 

Lost In Hollywood 

Philip Merivale, when he came out 
from New York to do a part in Give 
Us This Night, wanted to rent a Ford, 
and was on his way to do that very, 
thing when he passed a show window 
with a beautiful yellow Buick on dis- 
play. Yes, he bought it ! When he left 
town, he drove it down to the station, 
got an extra ticket, and the car took the 
same train with him. When Merivale 
was out here before, he did a year's term 
at Fox, but never got beyond the test 
stage. The day before the year ended, 
an official of the studio rushed up to him 
and said, "I just saw that last test you 
made, and I believe we can use you, for 
your test looks just like Karloff!" 

There's a million dollars worth of 
talent walking the streets of Hollywood 
waiting and struggling for an oppor- 
tunity. Superb actresses like Alice 
Brady, who is putting on Outward 
Bound at the Uplifters' Club for one 
night just to keep her hand in and keep 
from going mad. 

Why Hollywood Parties 

People wonder at the parties in Holly- 
wood, but you work at such a high pitch 
that when it is over you just can't sit 
down and knit. Of course, the races took 
up a lot of slack. There you could see 
all the stars screaming for their favor- 
ites, which is just another way of let- 
ting off steam. Wish you could have 
seen some of Bing Crosby's coats. The 
horses all envied him ! 

Joan's Ambition 

Understand Joan and Franchot Tone 
are each taking two singing lessons a 
day. I hear Joan hopes to make grand 
opera. I suppose Tone just wants to 
see that she stays in the right key. 

Young Doug Fairbanks is here from 
London, and I couldn't help wishing as 
I watched him the other night that he 
and Joan could meet now for the first 
time. They would now be ready for 
each other. Doug was such a young man 
when they were married. 

Doug, Senior, still lets you feel his 
arm muscles so you will know how fit 
he is. He's taking the clipper ship to 
Honolulu. I understand, when you fly 
on that, they weigh everything includ- 
ing the handkerchief in your pocket. 

A Beautiful Newcomer 

Billy Haines' Valentine party for Mr. 


Movie Classic for May, 1936 

Jack Warner and his new bride looked 
like "Burke's Perrage" and "Who's Who 
in America" combined. There were 
more stars than you'll ever find in the 
heavens. You can always pick out the 
English by their bad teeth and fine 
jewelry. The stars speak for them- 
selves ! Also among those present was 
Madeleine Carroll, the famous Con- 
tinental star, back in town doing the 
night spots with the Fairbanks duo. She 
is to make a couple of pictures for Wal- 
ter Wanger. She's a beauty and a darl- 
ing, and has taken Mrs. Clark Gable's 

Praise for Kiepura 

Mary Ellis also flew in from London 
to do a Walter Wanger picture. She 
tells me she has taken a twenty-year 
lease on an English house, and when 
she described her orchards and her 
meadows it all sounded so wonderful 
that I started right in packing. May 
will find me on the bounding sea ! 

I'm also going to visit Jan Kiepura 
in Poland. The writing fraternity had 
a field day at Jan's expense, but I 
coached him for the picture, Give Us 
This Night, and I adored him. He was 
just a naughty boy, and whoever ex- 
pects a tenor to be like other people ! 
The writers will all have to eat their 
words when they see him in the picture, 
for he is a knockout. When it comes to 
business, there has never been a con- 
tract like his. He himself drew it up. 
You see, he studied to be a lawyer, and 
that little monkey remembers every- 
thing — and I mean, everything. 

Fight Scenes 

W. C. Fields was so mobbed on his 
first day at the studio that he had to go 
back to Soboba Springs for another 
week's rest. 

Fred MacMurray, our 1935 hero, also 
'36 — he's only played opposite Colbert, 
Lombard, Hepburn, Sidney, and Bennett 
— is fast becoming one of our best fight- 
ers. He mixed them pretty with Henry 
Fonda in Trail of the Lonesome Pine 
and he's done it again with Alan Baxter 
in Thirteen Hours by Air. 

It's An 111 Wind 

As George Raft steps out of Para- 
mount, his bodyguard and stand-in, lov- 
ingly called "The Killer," is doing a 
swell job in Florida Special. 


Watching Henry Fonda and his ex- 
wife, Margaret Sullavan, in "The 
Moon's Our Home." reminds one of the 
story about the man who stalked dra- 
matically out of the house after saying 
to his wife, "Everything is over between 
us. You will never see me again ! 
Good-by !" And then having to go back- 
to get his hat ! 

Scene In The Rain 

We've been having a spot of rain these 
last few weeks which always throws our 
daily life out of gear. The Easterners 
take is as a personal insult, but the 
English revel in it. It reminds them 
[Continued on page 84] 

• "Listen— you're my twin and best pal— but it'll be a, 
cold day when I go traveling with you again! Crab— whine 
-boo-hoo . . . all the way home! I know what you need 
though— watch me unpack our suitcase and get it!" 

• "Now stop your whimpering! I know you're chafed 
and hot and cranky— I don't feel any too comfortable 
myself. I am hurrying, aren't I? Vllfind it if I have to dig 
clear through to China!" 

• "There you are! Noiv will you take back what you said 
about me? Sprinkle yourself with that soft downy Johnson's 
Baby Powder and smile for a change. And then give some 
to Sister!" 

• • • 

• "I'm Johnson's Baby Powder— I'll defend your 
baby's skin from chafes and rashes . . . I'll keep it 
soft and satin-smooth— I'm that ivay myself! No 
gritty particles in me as in some powders— and no 
orris-root. I'm made of the purest, finest Italian 
talc. (Your baby will like Johnson's Baby Soap, 
Baby Cream, and Baby Oil, too!)" 

Movie Classic for May, 1936 


This berth to 


costs only $6.80 

(from Chicago) 

— another reason why a Southern 
Pacific train trip to California costs so 
little these days. This is an upper berth 
in one of the new Air-Conditioned 
tourist sleeping cars on our principal 
trains to California (Golden State Lim- 
ited, Overland Limited, Pacific Limited, 
Sunset Limited, Cascade). A clean berth, 
large washrooms, porter service — all 
for only §6.80 more each way (from 
Chicago) than the cost of your tourist 
rail ticket (§68.80 roundtrip starting 
May 15). 

Before you decide you can't afford a 
trip to California this year, write for our 
free folder : " How to Save Money on 
Your Trip." 

Southern Pacific 

Dept.FW-5, 310 So. Michigan Blvd. 
Chicago, Illinois. 

Hot TUNA Sandwich 

For late evening suppers 

Melt H cup butter in top of double boiler. Add 
14 (scant) cup flour and stir until well blended. 
Add ZYt cups milk. Cook over hot water, stirring 
occasionally, until thick. Add 1 teaspoon salt, a 
dash each of pepper and cayenne, 3 tablespoons 
of lemon juice and ?i cup mayonnaise. Blend 
thoroughly. Add 2 cups BREAST-O'-CHICKEN 
tuna fish shredded. Heat through, but do not 
stir. Serve over hot toast points. (Serves 6 to 8). 

Jloolc faot the . . . 
The non-fattening 
energy food with 
a delicious flavor 

Jean and Clark Expose Each Other 

[( ontimied from page 35] 

glimmer of the glamour ... a glamour 
of the glimmer . . . y'know. 

"Thanks for that, Mr. G.," chirped 
Jean, "and right back at you — while we 
were working together I didn't recog- 
nize you for what you were. I didn't 
'get' you. But when I saw you on the 
screen — well, then I did get the full 
impact of the Gable personality. I did 
then. I still do. When we're actually 
in production, working together, I just 
know you're a good scout and a lot of 
fun. That's all. But when I get a 
look at you on the screen I think, 'For 
goodness' sake, didn't I even try to 
make a date with that?' 

"T DON'T know, I think I must al- 
-*- ways have felt in my bones, even 
if I didn't consciously think it, that 
Clark was a grand actor. Otherwise, 
I wouldn't have taken his advice quite 
so seriously all these years. Even in 
this picture I read my lines over to him 
and he suggests that I stress this line or 
emphasize that word and I always do 
what he tells me to do, and he's alwavs 

"And thanks for that, Miss H.," said 
Clark with an aw-cut-it-out-now expres- 
sion — "and here's back at you. One of 
the reasons why Jean is a star is that 
she's never got beyond believing that 
she can learn from others. She never 
has been 'teched' with the know-it-all 

"You see," Jean cut in, wearing an 
aw-cut-it-out-now expression in her 
turn, "we were very unimportant per- 
sons then. Wally Beery and Lewis 
Stone were the stars. And very kind 
they were to both of us. They helped 
us read lines. They taught us camera 
tricks. They gave us advice and en- 
couragement and everything in their 
power to give. Thev really cared about 
us. . . ." 

"And that," said Clark, "is the one 
outstanding thing about those earlier 
days — how kind everyone was to me. 
If I dreamed any dream at all it was 
that there might be such a thing as the 
brotherhood of man — and movie actors. 
It was so different from the theatre 
where all of the stars — especially the 
big women stars — are the prima donnas 
and the rest of the cast cattle. Boy, 
they could make things sizzle for you, 
some of those babies ! There was none 
of that temperament stuff out here and 
I couldn't get over it. I've never yet 
had any experience with any star or 
player trying to hog things, to give the 
other fellow a shove — down." 

"D'you remember, Clark," Jean 
laughed, "the funny little dressing room 
you had, tucked away at the end of 
nowhere ?" 

"Just enough room to change my coat 
and vest," said Clark, "well, it was all 
I needed. Matter of fact, it's all I 
need now." 

Movie Classic for May, 1936 

"Y\ e weren't allowed to see the 
rushes," Jean reminisced. 

"And now we don't want to," said 

"The rushes," said Jean, "were only 
for important people. We just did our 
day-; work and went home. We went 
to the commissary for lunch and if there 
vi n't an empty table, which there often 
wasn't, we sat at the lunch counter and 
very glad to be there, too." 

"Very glad to be eating at all," said 
Clark, "that was me. I was dreaming 
of the day, if you must have a dream, 
when I could let out my belt a notch 
or two. . . ." 

"We never studied our scripts," 
mused Jean. 

"For a darned good reason," laughed 
Clark, "we didn't have any scripts to 
study. We weren't important enough 
for that — or perhaps they thought we 
couldn't read ! We arrived on the set 
with painstaking punctuality and the 
director told us what to do and we did 
it, to the best of our abilities." 

"Did you work awfully hard?" I 
asked. "Were you under a strain and 
nervous all the time ?" 

"No," said Jean, "we weren't impor- 
tant enough for that. What we did or 
did not do was of such little conse- 
quence. The picture didn't in any sense 
depend on us, you know. It's only 
when you carry responsibility that you 
carry the 'white man's burden'. . . ." 

So this is how starlets keep those 
trim figures! A bit strenuous, may- 
be, but it does save dieting — and 
it's more fun. So say these four 
play girls of the Universal Studios 

"We still don't see the rushes," said 
Clark, "we haven't seen a foot of this 
film. I didn't see half a foot of Mutiny 
until it was previewed. What's the 
use? It's all 'in the box' by that time. 
There's nothing we can do about it. 

And if anything is seriously amiss 
they'll call us back for retakes fast 

"OUT you must have had ambitions 

-£> in those days," I persisted, "if not 
dreams. After all, you must have known 
that other beginners had become stars, 
and you must have thought . . ." 

"I didn't" said Clark, "I don't know 
what that makes me, but I didn't, I'd 
had other jobs before — in lumber camps, 
in the oil fields, on farms, on the stage. 
I'd never thought, when I had them, of 
becoming the 'Big Boss.' I carried a 
spear in a play with Jane Cowl. I just 
hoped that I'd carry that spear suffi- 
ciently well to be allowed to keep on 
carrying it. Ambition doesn't rear its 
ugly head in my breast, I guess. I 
make very few demands in life, have 
very few wants. And so the movie 
work was just another job to me. I 
hoped I wouldn't be fired. I dreamed 
of three squares a day and a decent 
place to sleep. I never got beyond 
it. ..." 

"Me, too," agreed Jean, "you see, I 
knew that Hell's Angels was just one of 
those accidents — it was absolutely that, 
a fluke. It didn't give me any reason 
to suppose that it would lead to anything 
important. I didn't think I could act. 
I was so absorbed in having a job and 
in hoping for a follow-up that I didn't 
have time to think where a follow-up 
might lead." 

And they both mean what they say. 
If they don't they've been lying to me 
all these years. For I've talked with 
Clark and Jean frequently since the 
days when they were unknown begin- 
ners. And of all the stars I know they 
are the most genuinely, the most hon- 
estly, unaffected by success. They are 
the most honest and sincere, and hum- 
ble in their own self-esteem. 

Clark was glad he "had a job" when 
he played in The Secret Six. As a star 
of Wife versus Secretary, he's still glad 
he has a job. 

Jean hoped, when she played in The 
Secret Six that one day she might be 
the actress she aspired to be. As a star 
of Wife versus Secretary she still hopes 
that she will be the actress she aspires 
to be. 

I honestly believe that of all of the 
top-notch stars in Hollywood today, 
these two have the largest and most 
loyal legions of personal friends. 
Neither has lost perspective, neither has 
lost the ability to remember the days of 
poverty and struggle. And to my own 
knowledge, those memories have made 
them keen to realize the problems of 
others. I could cite innumerable in- 
stances to show their willingness to help. 
But neither would appreciate the broad- 
casting of such good deeds. 

They are two stars who do not look 
down upon the good earth. 






co j,et*> 

^ toll* E YES • ; 

Russell Markert, 
Associate Pro- 
ducer, Radio Cily 
Music Hall: "The 
Rockettes are 
lovely in Marvel- 
ous the Matched 
Makeup. A face, 
like a stage set- 
ting, a costume, is 
at its best in color 

Vincente Minnelli, 
producer of "At 
Home Abroad" : 
"Marvelous Eye- 
Matched Makeup 
follows the same 
principle of color- 
theme that theat- 
rical producers use 

Ski Weld, Portrait Painter: "The other day I painted 
pictures of four very lovely girls. Each was beautiful, 
distinctive, in the new Marvelous Matched Makeup.' 1 

ARTISTS, photographers, stage and 
Xjl screen directors . . . men everywhere 
who know beauty are telling girls about 
the new makeup "keyed to the color of 
your eyes." 

It's Marvelous . . . the makeup that 
matches . . . face powder, rouge, lipstick, 
eye shadow and mascara ... all in true color 
symphony. And a makeup you can buy 
with the certainty it matches you. For it's 
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color, the color that never 
changes, the color of your eyes. 
At your drug or department store now 
. . . full-size packages ... 55 cents each. 
Ask for Marvelous Dresden type face 
powder, rouge, lipstick, eye shadow and 
mascara if your eyes are blue; Parisian 
if your eyes are brown ; Patrician if they 
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Take a tip from these men who know 
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Movie Classic for May, 1936 


Robert Taylor — Hollywood Aladdin 

[Continued from page 39] 


Keeps breath pure and sweet 
1 to 2 hours longer 

. . YOUR NAME ' 


Possible ! Read carefully. Movie com- 
panies need "star material". Have scouts 
out looking for the right types. Perhaps 
your personality is what they want! 


... so that we can recommend you for a screen 
and voice test if you appear the right type. 
Remember, it's personality quite as much as appear- 
ance that counts. YOU may be the one they're 
looking high and low for. 

Pictures selected will be submitted to various movie 
studios for approval. Yours may be among them. 
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about elaborate schemes. I feel if I 
don't count on a thing too much I've a 
better chance of getting it." 

A S FAR back as he can remember, 
r *- Bob never took anything for 
granted. Regardless of what he may 
read about himself and how much in 
demand he seems to be, he views every- 
thing from a tentative standpoint. 
"Inferiority complex?" we asked. 
"The word has been well over- 
worked," admitted Bob. "But I guess 
that is the real explanation of the thing. 
Understand, I don't go around imagin- 
ing people would be bothered enough 
to dislike me. But I can't bring myself 
to assume that they like me, unless I 
actually have tangible reason for be- 
lieving they do. 

"I don't want to lose perspective on 
myself," he went on. "That's one rea- 
son why I'm going to take a little time 
out the first chance I get. I've been 
very lucky. For that reason I can't 
afford to lose my sense of values in 
the rush. 

"No one can keep on going without 
something solid behind him. That's 
what I want to build — something solid." 
Bob is deeply in earnest. And his 
words brought to mind something he 
said after finishing his trying work in 
Magnificent Obsession. 

We were struck with the change in 
him. He seemed graver, with a quiet 
poise and something in his blue eyes 
that hadn't been there before. Bob had 
been through an ordeal, and had come 
out with a new warmth and under- 
standing. His face was leaner, and he 
appeared more handsome than ever. 

At the remark that he looked older, 
Bob said at the time, "I feel older — 
much. I didn't realize before how much 
there was for me to learn. 

"It was the first part which caused 
me to carry a heavy responsibility. 
Previously I got along by just being 
myself — and there were many others in 
the casts whose roles were more im- 
portant than mine. In Magnificent Ob- 
session, for the first time, I knew I had 
to carry a large part of the picture and 
actually act. Each scene had to be 
right. Our director insisted upon the 
best and would shoot a scene ten or 
twelve times until satisfied." 

That sense of responsibility has 
made a deep impression upon Taylor. 
With this role of his in Small Town 
Girl he feels the urge and necessity to 
do his best. He studies zealously, and 
endeavors to widen his knowledge and 
experience as much as possible. 

"I would hate to be just a fad," he 
confessed. "I want something genuine 
to offer. That is possibly the most 
important conclusion I've come to since 
getting this far. There's a long way 
yet before I am at the top — and the 
only chance I have of making the grade 

Movie Classic for May, 1936 

is by having some firm ground-work 
behind me. 

"Another thing I've found at this 
stage," continued he, "is that the higlier 
you go the greater are your responsi- 
bilities in every direction. Everything 
is relative — with each boost there is a 

"People tell me how lucky I am. 
Granted. No one realizes it better than 
I, but there's something I read recently 
which strikes me as being only too true. 
It was to the effect that it is all very 
well to be in the spotlight while tread- 
ing on a purple carpet but annoying 
when you step on a banana peel. There's 
always the chance of that skid, you 

"But, really I'm not as gloomy as all 
that. One has to take his chances in 
anything, and I'm certainly not com- 
plaining about mine. 

"In what other business imaginable 
could I have won such rewards as the 
screen has given me in one short vear ?" 

June Knight bids warm weather a sun- 
worshipper's welcome on famous Mali- 
bu Beach, summer playground of 
Hollywood's stars. With the season 
of sparkling water and golden sand at 
hand, Hollywood, en masse, is going 
down to the sea in bathing suits 

The Moon Was Their Home 

{Continued from page 38] 

It was in Falmouth, Massachusetts, 
that they met, wooed and were married ! 

Henry was there with the University 
Players when Margaret came down from 
Boston to join them. At first he was too 
busy to even notice her. He was one of 
the group's most tireless workers ; re- 
hearsing in the mornings, painting 
scenery in the afternoons, acting in the 
evenings — and, after the performance, 
producing a floor show in the theater's 
night club. 

Bretagne Windust, the company's di- 
rector, cast them opposite each other in 
a play and on their opening night some- 
thing happened which finally made 
Henry wake up to the fact that there 
was a new girl there. It was a terribly 
tiny thing, but — well, have you ever 
noticed how sometimes you'll sleep 
through a thunder storm and another 
time be awakened by the soft sound of 
a curtain flapping? Well, anyway, Henry 
had been in that kind of a sleep. 

It happened during the second act. 
Henry was playing the part of a 
wounded aviator. Margaret was nurs- 
ing him back to life. She had just 
bound his wounds and was urging him 
to rest. Her line was, "There, dear, 
and now I'll cover you with this nice 
warm blanket" — and then she was sup- 
posed to reach for the blanket, and 
cover him with it. Margaret delivered 
the line, reached for the blanket, and 
saw that it wasn't there ! But she hesi- 
tated only for an instant. Then she said 
coolly, in that smooth southern accent 
of hers, "No, come to think of it . . . 
ah don't guess ah will!" 

Well, that panicked them. It panicked 
the audience. And it panicked Henry. 
It just about made his heart turn over 
with joy. What poise! What a sense of 
humor ! What an actress ! What a girl ! 
The more he thought about it the more 
he laughed inside, and the more he 
laughed inside, the more certain he be- 
came that Margaret was worth his at- 

1LJEXRY found that Margaret's humor 
A -*■ and gayety were practically per- 
manent and not reserved just for difficult 
situations. She was bubbling over with 
spirit all the time and that tickled Henry 
and they were like two school kids at 
play. At night, after the night club had 
closed, he'd escort her home along the 
beach to the cottage where she lived 
with the other girls of the company. It 
was a moonlit walk and the air blew in 
soft and sweet oft the water, and that 
particular stretch of beach is about the 
most romantic spot in the world — but it 
was not romantic for Fonda or Sullavan. 
Oh no indeed ! Their evening walks 
were more in the line of scrimmages, 
marathons, track meets — or whatever 
you want to call them. "On your. mark, 
get set, one. two, three, GO !" And 
down the beach they'd sprint ! Or they'd 
{Continued on page 66] 

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Tonight, as soon as you take off your 
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stale perspiration. 

This is bound to happen if you merely 
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And the very next time you wear that 
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Only one wcy to be SURE 

Women who care deeply about good groom- 
ing know that there is no short cut to true 
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WOMEN who want to be sire their 
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odor" gently close the underarm 
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With Odorono, not even the slightest drop 
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spoil the pleasant impression that you 
would otherwise make. 

Odorono's action is entirely safe . . . ask 
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Perspiration is merely diverted to less con- 
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it is well worth your while. In the end you 
save, not only embarrassment but your 
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one day's wearing. And there is no grease to 
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Odorono comes in two strengths. Regular 
Odorono (Ruby colored) need be used only 
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On sale at all toilet-goods counters. 

If you want to feel the utter security and 
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sample vials and leaflet on complete under- 
arm dryness offered below. 

RUTH MILLER, The Odorono Co., Inc. 
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(In Canada, address P. O. Box 2320, Montreal) 
I enclose Si for sample vials of Instant and Regu- 
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Movie Classic for May, 1936 




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The Moon Was Their Home 

[Continued from page 65] 

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Changeable Tongues 

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vv EAR Dundeers with every sports 
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play leap frog for a mile or so ! Howling, 
laughing, screeching, tumbling along. 
Just a couple of hoodlums ! 

But all that was before Coquette, and 
Coquette changed everything. Do you 
remember it ? Helen Hayes played it on 
the stage and Mary Pick ford made a 
movie of it . . . and it's one of the 
saddest love stories ever written ! Mar- 
garet and Henry were cast as the ill- 
fated sweethearts. 

It was the first serious romance they 
had ever played in together, and it was 
the first time that Henry had ever had 
to take her in his arms. At one time or 
another, during his several seasons with 
the Players, he had embraced practically 
every girl in the company — histrionically 
speaking, of course — and it had never 
seemed at all difficult before. But now, 
suddenly, there was Bretagne calling for 
a rehearsal of the love scene, and there 
was Margaret waiting for him to take 
her in his arms . . . and there was he, 
standing like a big cluck, not able to 
move. Finally he said, "Sorry . . . I've 
got the hiccoughs . . ." and begged to be 
excused. But it wasn't the hiccoughs — ■ 
and nobody knew that better than Henry. 
Henry had fallen in love. 

That was when they began fighting. 
Afraid he'd tell her how wonderful she 
was, Henry concentrated, instead, on 
telling her how terrible she was — and 
Margaret, not to be outdone, told him 
right back ! No more games and gay 
racing along the beach. Only bickering 
and bantering through rehearsal's day 
after day. Watching them, Bretagne 
Windust was sure the play would be a 
flop. Margaret and Henry just didn't 
seem to work well together — rather, 
they were at each other's throat. A 
fine situation when you were doing the 
greatest love story of the day ! But it 
was too late now. The play was sched- 
uled, and as it was scheduled, so it 

Well, it was one of the greatest suc- 
cesses the University Theatre had ever 
known ! Hard boiled society matrons and 
salty Cape Cod sea captains alike sat 
in their seats and sobbed. So did every- 
one — debutantes and shop-keepers and 
artists and rich men's sons. They couldn't 
help it. And the reason the romance 
"hit home" — was because it was so real. 
Henry, unable to keep his secret from 
Margaret anymore — unable to continue 
his foolish fighting pretense — had told 
her through the lines of the play ! 

A few weeks later they were married. 
At first Margaret hadn't wanted to 
marry right away. It was the end of the 
season . . . neither of them had jobs for 
the winter . . . and neither of them 
had much money saved. But Henry had 
laughed at that. What was money . ; . 
What were jobs . . . what was security 
. . . compared to love ! 

Well, Margaret was soon to find out 
what was money . . . what were jobs 
. . . what was security ! Henry, it seemed, 

really could get along without good food 
to eat, and nice clothes to wear. A can of 
sardines and a loaf of bread seemed to 
sustain him for a week. But Henry had 
accustomed himself to such things dur- 
ing his last few lean years in New York 
and Margaret, it must be remembered, 
was fresh from an expensive finishing 
school. There was no getting around 
it: the cheap places in which they lived 
and the cheap food they ate and hound- 
ing the producers' dreary offices all day 
wore her down — while Henry thrived 
on it. In spite of all they were going 
through, he was still enthusiastic, still 
hopeful; he could still laugh, and he still 
liked to play games ! 

"FINALLY Margaret thought she saw 
A the end of their troubles. She accepted 
a job with the Chicago company of 
Strictly Dishonorable ! But when she 
broke the good news to Henry, and 
told him to start packing — Henry said 
"No !" He was not going to Chicago 
to be supported there by her ! His 
chances were in New York — and so 
that's where they'd stay! 

That scene was the end of their mar- 
riage. Margaret figured that if he 
couldn't face reality now, he'd never 
face it ! Maybe he could live a dream- 
filled existence in the moon, but she 
couldn't. So if he wanted to go on living 
in the moon, he could go on living there 

And that's how it happened to end 
so quickly. Not because they weren't 
fond of each other . . . but because they 
couldn't see eye to eye. Margaret — a 
realist . . . straight, direct, facing facts, 
always to the point. Henry — an incur- 
able dreamer. She got a divorce. 

But they zvere still fond of each other. 
They proved that when Margaret made 
her big success in her first film, Only 
Yesterday, and then wired at once for 
Henry to join her on the coast. He 
arrived and they were seen everywhere 
together, and Margaret did her best to 
get him into pictures, too. But it just 
didn't work out that way. So he went 
back to New York. Then the next sum- 
mer Margaret returned to the University 
Theatre on the cape, where Henry still 
was, and appeared in a couple of plays 
with him. There they sprinted along 
the beach and played leap frog — and 
apparently it was all just as it had been 
before — -before their romance. At any 
rate if Henry ever did have any hopes 
of winning back his wife, he lost them 
the next year when he heard of her 
whirlwind marriage to William Wyler. 

By that time, as you know, Henry 
had clicked in a New York play, The 
Farmer Takes a Wife, and Walter 
Wanger had signed him for pictures. 
So Henry arrived on the Hollywood 
scene just about in time to dance at his 
ex-wife's wedding. 

He was terribly busy for a while . . . 
one picture after another . . . with 


Movie Classic for May, 1936 

scarcely a night out. Not seeing him 
around with any of the Hollywood beau- 
ties, Hollywood shook its head and said, 
"He's still in love with Margaret." 

But then finally Henry had a breath- 
ing spell and he started breezing around 
town with Shirley Ross and others of 
the younger crowd — and that theory was 
blasted. But now comes this picture to- 
gether, to start everyone talking again. 

And of course they — Henry and Mar- 
garet and Wyler, too — knew that it 
would. However "talk" doesn't stop 
Margaret from doing anything she wants 
to do — and she wanted Henry in her 
picture ! She knew from past experience 
that they teamed well together. 

Well, do you know what's happened? 
Margaret's been meek as a lamb all dur- 
ing the making of this picture — no tem- 
peramental outbursts, no scenes that 
weren't in the script ! Yes, it's been 
heavenly in the studio — and that's a new 
kind of atmosphere for a Sullavan set ! 

But what intrigues me, quite naturally 
— and you, and you and you ! — is, how- 
do they feel about it? Of course, they 
won't say. (One of the stipulation's of 
Margaret's contract for this picture was 
that no interviews on the subject were 
to be requested !) But, just the same . . . 
how do they feel? 

In those love scenes, most especially, 
and there are lots of them in the pic- 
ture ! How does he feel when he takes 
her in his arms as he used to do once — 
not for fame and for money, but for 
love? And how does she feel? Does she 
remember? Are his arms, like old 
friends, comfortable and warm ... or 
are they cold and impersonal . . . prop 
arms like the scenery around them ? 

Remember that Margaret and her 
husband, William Wyler, after being 
separated for some time, are now 
strongly rumored to be on the verge of 
an actual divorce. So strong are the 
rumors that in all probability, Margaret 
will actually file suit before this maga- 
zine reaches print. Once freed from her 
somewhat hasty marriage to Wyler, will 
she and Henry Fonda re-marry? Will 
the memories re-kindled by this on- 
screen romance re-kindle their off-screen 
love ? 

Well, I have just watched them at 
work together. At first they were sitting 
on the side lines, talking and laughing, 
and then Director Bill Seiter called 
them for a scene. "Come on, Sullavan," 
said Henry, getting up. "It's that love 
scene. Let's get going . . ." 

He calls her Sullavan now. Sullavan 
. . . good fellow . . . pal . . . Sullavan 
. ; . just as though she had never been 
his wife. "Come on, Sullavan. It's that 
love scene. Let's get going." 

I watched them closely. Both of them 
seemed casual about it. And afterwards 
they sat on the sidelines again, and 
Maggie said, "A good scene, Hank." 

His voice was just as nonchalant as 
hers as he thanked her and returned her 
compliment. "You played it perfectly 
that time, Sullavan — " 

But still I wondered ... I couldn't 
help it. They could look casual about 
love. But remember, after all, they're 
both actors ! Do you wonder, too ? 

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Movie Classic for May, 1936 



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Forward, March 

[Continued from page 47] 

; Name- 

■ Address- 
I City 


"Every woman is, at heart, the poten- 
tial reformer of the man she loves. 

"With all his charm, Anthony Adverse 
has one other ingredient in his make-up 
that stimulates this instinct in woman. 
That is a fundamental weakness. The 
reason is his knowledge of his illegiti- 
macy. He feels incomplete, unsound. 
Women, intuitively, sense that. And 
they try to reform him, to make him 
strong. And so they go about it in the 
ages-old, unchanging way of women 
with men through time and place. They 
love him, they try subconsciously to give 
him the sense of conquest and of power. 
And all the time, the truth is that instead 
of women 'falling for' him, he is in 
reality 'falling for' them. He is not the 
Don Juan, the conqueror, the philan- 
derer, at all. He is still the befuddled, 
bewildered seeker. 

"And the strangest part of it all is 
that Anthony always returns love in 
full measure. He gives himself com- 
pletely — until he moves on and a new 
woman takes the place of the old. He 
believes himself, with each successive 
affair, finally and utterly in love, and so 
gives himself completely to his flame 
of the moment. 

"In short, to resort to the colloquial- 
ism of today, it's not that women are 
pushovers for Anthony — it's rather that 
Anthony's a pushover for any women." 

T^HE men March works with — the 
-*- workers on the stage and the men 
in the press department — are strong for 
him. You might imagine that a man 
who talks of love in high-phrased 
language might be a bore to matter-of- 
fact materialists like the publicity guys. 
But he's not. They concede him the 
right to talk of love as much as he will 
— because (a) he knows what he's talk- 
ing about and (b) he's a regular guy. 
"He ought to know about love," said 
one of the men. "He has played the lover 
often enough, on stage and screen; he 
gets enough fan-letters from women 
who write of love and ask him about it ; 
and besides, the fact that he's one of the 
happiest-married lovers in Hollywood is 
actual proof that he knows love. 

And then they went on to tell me of 
how he clowns on the set — of how he 
can switch without a break from an 
impassioned love-speech to some wise- 
crack. There was the scene where he 
tells Olivia de Havilland, playing the 
role of Angela, of his love fop her. He 
stands on the earthen threshold of her 
parents' humble cottage. 

The cameras ground as he poured out 
his love to the girl. He went through 
the scene perfectly, warmly, impassion- 
edly. And then, without hesitation, his 
voice rolled on — 

" — I love you — love you, Angela, and 
if you grips back there would get a 
couple of shovels and dump some dirt 
here on this step, maybe it'd make this 
stance a bit less awkward ... !" 

"Cut, CUT!" yelled the director. 

They like Freddie, too, because of his 
open-house policy in that amazing green 
portable dressing room he uses. That 
dressing room is in his contract. If 
Warners wanted him, they had to take 
his dressing-room, too. So they took it. 

It's a huge affair, once presented to 
him by Twentieth-Century-Fox. Wher- 
ever he goes, he takes it along. It has 
an electric refrigerator and gas range 
and running water in the kitchen ; it has 
a shower bath and other conveniences 
in the bathroom ; it has a telephone 
that's plugged in to the set phone ; it 
has a bedroom, a radio, and a bar. 

"What'll you have?" is the oftenest- 
spoken phrase in the room. And what- 
ever the answer, Freddie produces it. 
The people who work with him love 
to visit Freddie in his dressing room 
between shots : And they don't grumble 
at the awkwardness of carrying that 
dressing-room around. "Portable" it's 
called, but they had to assign a five-ton 
truck to the dressing room throughout 
production ; nothing else would move it. 
And nothing would move Freddie, either. 
He had to have that dressing room — 
or else ... ! ! ! 

"Damnation," exploded a sub-execu- 
tive ; "that dressing room of Freddie 
March's cost us almost as much as the 
rest of the production in toto — whatever 
that is!" 

Just how much that "rest" amounted 
to is one of those studio secrets. But 
it's no secret that March's own share 
was a big item. For it's Hollywood 
common knowledge that March's salary- 
per-picture is the highest for any non- 
starred performer on the rolls. That 
is — non-starred before this, his first 
starring picture. March gets more per 
role than many ace stars ! 

But it's not just audiences who go for 
him. The men who work with him 
feel the same way. Because he's just as 
"regular" offscreen as he is charming 
onscreen. He does things like — well, 
here's what he did at the end of An- 
thony Adverse: 

His contract had finished, and as far 
as he was concerned, when they shot 
the last scene of the film, he was done 
— owed the studio no more work. Yet 
he knew that the publicity boys were 
anxious to have him pose for a set of 
portraits and stills. He didn't have to 
do it — and it would have cost thousands 
of dollars if he'd insisted on being paid 
for coming in and doing it. 

"Poo !" he said — "I'll do it on my own 
time. And he did — he came in, volun- 
tarily, and posed throughout a ten-hour 
day, changing makeup, and costumes 
often. He did much more work in that 
one day than he ordinarily does in three 
or four days of shooting. They thanked 
him. "Forget it," he said; "you fellows 
have been swell to me; I can do this little 
in return, can't I ?" 

No wonder thev like him. 


Movie Classic for May, 1936 

Party Line in Hollywood 

{Continued from page 14] 

make any more pictures together, they 
have been scheduled for a new song- 
and-dance carnival yclept Watch Your 
Step. And they're already rehearsing. 
By the by, did you hear about Ginger 
composing and selling a song ! The title's 
"I Can't Understand Why You Don't 
Understand Me," and it's being plugged 
by none other than the one and only 
Irving Berlin. He says that Ginger has 
talent, but, shucks, we all knew that. 

An Orchid To Mary 

And right now I'm going to strain the 
expense account to present an orchid 
to Mary Pickford. Here in Hollywood 
are scores of once famous screen- 
favorites who have slipped from their 
pedestals and been forgotten. That is, 
they've been forgotten by all but a few 
great-hearted, loyal friends like Mary. 
Now and then someone calls them to the 
attention of the studios and mentions 
the fact that they deserve a little work. 
Everyone agrees that something should 
be done about them and then they get 
to talking about the next dr-y's races 
at Santa Anita or the price of Beverly 
Hills real estate and the old-timers are 
again forgotten. But Mary, without 
saying a word, did something. She gave 
200 of them jobs in One Rainy Night. 

It's A Gamble 

Speaking of the late, lamented races at 
Santa Anita, don't cherish the idea that 
Hollywood's star and starlets bet heavy 
sugar on the ponies. Like the hoi polloi, 
they swarmed around the windows which 
catered to two dollar bets. Even Bing 
Crosby, who has a stable of so-called 
horses, admits that he never wagered 
more than two bucks a race — and in- 
variably lost. 

So did his horses. 

Tax Tax 

As a matter of fact, the only man 
who's making big money in Hollywood 
these days is Uncle Sam. I might have 
doubted the sad facts had only one star 
told me, but since they all agree I'm 
forced to believe that all of the players 
earning more than $3,000 a week turn 
over a neat seventy-five percent to the 
federal and state treasuries for income 

Heart Interest 

Doug Fairbanks, Jr., is back in town, 
ready to start production on his first 
picture for United Artists — and his 
arrival caused a great furor along the 
Boulevard. The excitement was not be- 
cause of his production plans, but be- 
cause at last we gossips had a chance to 
find out whether his current heart in- 
terest is Gertrude Lawrence or Elissa 
Landi. He's most uncommunicative, is 
Douglas, but after chatting with him, 
we'll string along with Elissa. 

What makes 
a girl &^2J/ 9 

JOAN is pretty. She is smart. And 
she is asked everywhere. 

Barbara looks at Joan with secret 
envy. For Barbara, too, is pretty. And 
she is smart. But evening after eve- 
ning, she is left at home alone. 

Why? What makes one girl "click" 
socially and another fail, when both 
are equally good-looking? 

The truth is, Barbara could be just 
as popular as Joan if it were not that 
she is careless — careless about some- 
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Spell of the River 

[Continued from page 37] 

to play that part was one of them. I 
let it be known where the knowing- was 
important that I would like to take over 
'Nolie's' part if the occasion ever arose. 
But, knowing the part and the tre- 
mendous success of the show, I had lit- 
tle hopes of ever being called upon. 

"^ll^HEN I finally did receive word 
" * to come for an audition for the 
part, my surprise and joy were about 
equal. Because now I had another rea- 
son for wanting to play it, on top of all 
the others, and also another reason for 
feeling I would never get the chance. 

"When I was first in New York try- 
ing to find a singing engagement, I 
was given an audition by Oscar Ham- 
merstein, Jr., the man who wrote the 
play Shoivboat. 

"I went to his office with high hopes. 
But he said I wouldn't do, and I was 
so disappointed I broke down and cried 
and cried and cried. 

"This time, however, Oscar wanted 
me to have the part, and was glad that 
Ziegfeld decided to give me the oppor- 
tunity to take it over. I experienced 
one of the greatest thrills I have ever 
known when I opened in Showboat. 

"I knew Ziegfeld was worried about 
me, and in spite of the tremendous con- 
fidence I had, way down inside me — for 
I felt I knew 'Nolie,' Captain Hawks' 
daughter, and 'Julie' an( l tne spirit of 
the story as well as the 'feel' of the 
music better than anyone else could — I 
was frightened. 

"One of the girls came up to me, just 
before the curtain was raised, and said : 

" 'Ziggy's in the second row. Go out 
and show him a real 'Nolie' from down 
the old river.' 

"It was the habit of producers to 
notify a player regarding his or her 
performance at the end of the show. 
But Ziegfeld didn't wait for that. At 
the end of the first act a note was 
brought to me. Mr. Ziegfeld had writ- 
ten : 'My worries are over. You're 
swell !' After receiving that, I just 
sailed through the rest of the show. 

"Sometimes I think I owe any suc- 
cess I've had to Shoivboat. For, with- 
out the inspiration of that play and the 
driving desire to play 'Nolie,' I might 
have lacked the determination to suc- 

"Of course I loved every perform- 
ance I ever played in that show. To 
me it is the greatest show ever written. 
Every time I sang one of my songs it 
wasn't a task, it was a joy. And little 
'Nolie' never wanted more to sing 
'Julie's' songs than I wanted to sing 
Helen Morgan's, who played 'Julie,' 
you remember. I can't tell you just 
why, but Bill has always been my fa- 
vorite song. Of course / Can't Help 
Loving That Man and Old Man River 
will always haunt me, because they 
breathe the spell of the river." 

Later, after seeing the show three 
times, Edna Ferber, who wrote the 
story from which the play was taken, 
said that Irene Dunne was the perfect 
"Nolie" — the one "natural" for the part. 

But in spite of her success in the 
stage play, Irene Dunne was never en- 
tirely satisfied. Her greatest ambition 
was not fulfilled. She wanted to play 
the part on the screen. She wanted to 
bring the spell of the river to the mov- 
ies. She wanted to interpret the spirit 
of the Old Mississippi to the millions of 
movie fans throughout the world. She 
wanted to make them feel the romance 
it had made her feel. 

Most of all she wanted to tell the 
story of people who spent their lives 
on the old river she loved so well, and 
to re-live, through "Nolie" some of her 
own girlhood dreams. 

Three years ago we sat in Irene 
Dunne's Beverly Hills home. She was 
talking, quietly, half dreamily, with a 
far-off look in her eyes. 

"It's so seldom one's deepest desire 
is realized," she mused, "that I imagine 
I'm courting disappointment by letting 
my r self day-dream of the time when my 
wish might come true. Instead, I sup- 
pose I should be thankful for what has 
already been granted, and forget the 

"Yet, I can't get it out of mv mind. 

It isn't "just a racket" when Elizabeth 
Allan, Metro-Goldwyn-Mayer's prom- 
ising young English importation, swings 
it. She's one of the best and most 
enthusiastic tennis players in Filmland 


Movie Classic for May, 1936 

It's almost as persistent as the spell of 
the old river itself. 

"The thing I want more than any- 
thing- else in the world to do is to make 
the picture Showboat. To be 'Nolie' 
on the screen is the height of my ambi- 
tion. But there doesn't seem to be 
much chance of my doing it, does 
there ?" 

But dreams do come true, and yes- 
terday I was in Irene Dunne's dressing 
bungalow over at Universal — and on the 
set with "Nolie." For in the familiar 
scenes of the old river show-boat Irene 
is "Nolie." She isn't playing that part, 
she is living it. 

No motion picture director ever be- 
fore experienced such rehearsals as the 
company of Showboat gave from the 
very first "shooting." Many- of them 
had been in the original stage play, and 
had played hundreds of performances 
with Irene. They knew their parts 
backwards, and loved them. 

TN her own work Irene was helped not 
■*- only by the spell of the river and her 
love for the story the picture tells, but 
also by the close friends who faced the 
camera with her. For many of those 
players have become an inseparable part 
of the play to her. 

When she learned that the producers 
were planning to cast the picture with- 
out Charles Winninger as the old Cap- 
tain, she went to them with tears in 
her eyes. 

"But Charlie is 'Captain Andy'," she 
explained. "Why, there couldn't be any 
other 'Captain Andy.' It would be a 
dead thing in any other player's hands. 
I couldn't do it with anybody else." 

And Irene admits she didn't only 
mean she couldn't; she also meant she 
wouldn't — in spite of the fact that she 
wanted to play that picture more than 
she wanted anything else in the world. 

How does" all this influence Irene 
Dunne's work in Shozvboat? Will she 
do as those in the show with her claim : 
turn in a dramatic performance su- 
perior to anything she has ever done ; 
sing as no movie fan has ever heard 
her sing, and put into her work even 
more of that subtle charm and sweet- 
ness of hers than we have ever before 
seen? In other words, will Irene live 
up to the expectations of the other 
members of the Shozvboat family, and 
surpass her best in each and every one 
of her past performances? 

We who have seen her working on 
Showboat set and stage — if you can call 
re-living her childhood romancing as 
"Nolie" and singing the songs that 
haunt her, "work" — are probably preju- 
diced by the spell of the river that has, 
in some way, seemed to invade Holly- 
wood's cold concrete stages. But right 
now we are inclined to agree with 
Charles Winninger, and Director Whale, 
and Jerome Kern, who wrote the music 
for the show, and Oscar Hammerstein, 
who wrote the play (and who, with 
Kern, haunts the set's almost daily) and 
those rare critics the grips and camera- 
men, and predict a great triumph for 
Irene — and for "Old Man River." 

Do You Ever 

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Ask Your Doctor and Find Out 

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your family are taking for the relief of headaches is 
SAFE to use regularly, is your family doctor. 

Ask him particularly about Genuine BAYER ASPIRIN, 
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He will tell you, we are sure, that millions of people 
take it, year in and year out, without ill effect. 

He will tell you, too, that before the discovery of 
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Price of 

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Come to Hollywood! 

[Continued from page 49] 

Wednesday will be devoted to the 
cross channel trip to Catalina Island, the 
Riviera of the West. You've all read 
about Catalina, with its harbor like 
something- out of fairyland, its hotels 
and dancing pavilions, its grand food 
and scenic wonders. 

In between, there'll be a trip through 
Beverly Hills, with guides to show all 
the wonder homes of the stars. Down 
palm-lined avenues of this, the richest 
little town in the world, you'll roll in 
special cars, to see the homes of stars 
famed in every land. 

Hollywood, of course, is the grand 
climax of this two weeks' vacation trip, 
but the rest of the journey will be filled 
with sights to see and things to do. Com- 
ing out, the Movieland Tour goes 
through Rainier National Park. There 
will be trips through Seattle, China- 
town to see in San Francisco, and many 
other excursions. Going back to Chi- 
cago, the trip will take you through even 
more wonders of the West. 

That's the outline of our second annual 
Movieland Tour. It will be even bigger 
and better than the first one, which was 
so tremendously enjoyed by 200 guests 
last year. 

Once more the special train will be 
booked for only 200 persons. That 
means some will be disappointed if their 
applications are received too late. Don't 
delay — get in your reservation now for 
this grand tour to Hollywood ! 

Full details are contained, along with 
schedule of costs, in a booklet which 
will be sent you free of charge, with no 
obligation on your part. Just fill in the 
coupon at the end of this article, and 
we'll do the rest. 

If you can't join the tour leaving 
July 19, then join our Movieland Special, 
leaving August 9. 

Of the second tour, we'll visit Uni- 
versal studios, again enjoy a party at a 
home of a star, and in every way dupli- 
cate the thrills of the first tour. Com- 
plete plans for this second trip will be 
announced later in Movie Classic. 

Use This Coupon 

Mr. Joe C. Godfrey, Jr., 
360 North Michigan Blvd., 
Chicago, 111. 

Without obligation on my part, send me 
your complete, illustrated booklet describing 
the Movieland Tours. 

I enclose $ Please enter my res- 
ervation now for persons, to insure 

a place for us on tour No 

(A deposit of $10 per person will hold 
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or tour No. 2, leaving Chicago August 9th.) 


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Movie Classic for May, 1936 

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Now You're Talking 

[Continued from page 6] 

best. Many of them are historical, and when 
I study in school what I have seen on the 
screen, it seems much easier because it 
seems real and not just something in a 
book. I not only learn the facts of that 
special incident, but 1 see the whole back- 
ground of homes, furnishings, sports, etc., 
that were peculiar to that period of time. 
The producers carry out each small detail 
to make the whole picture as authentic as 
possible. „ , , T ,,. 

I think David Copperfield, Les Mis- 
erables, Mutiny on the Bounty and Captain 
Blood 'the best pictures of the past year, 
and among the best ever produced. I have 
read each of the books since seeing the 
pictures and enjoyed them far more than 
I would have had I not already seen the 
pictures.— Agnes E. Williams, Star Route, 
Callands, Virginia. 

Not To Be Laughed At— The motion pic- 
ture industry, within the past five years, 
has made enormous strides in giving the 
public better productions — that is, the fea- 
ture pictures are better in many ways. The 
comedies, however, are still the kind to 
appeal to a moron. We have passed out of 
the stage where we had to look at pies 
being tossed across the room by would-be 
comedians; cars dashing madly around 
curves in pursuit or in escape and knocking 
down all the "hoi polloi in sight are an- 
tiquated; the flood of Micky Mouse car- 
toons is ebbing; portrayals of animals act- 
ing as people — to me one of the most dis- 
gusting kinds of comedy we have ever had 
—are passing out of favor, but at present 
we have parodies on the old-fashioned songs 
that, in hideous colors and faces and in ex- 
aggerated attempts to be funny, are getting 
to be bores. Isn't it possible to have a genu- 
ine comedy that doesn't leave a bad taste in 
the mouth or a feeling that time has been 
lost ? No longer in the city theatres are ad- 
vertisements of merchants run as in small 
towns,- often there being only the feature 
with news reels. Do we have to have 
comedies every time as an appetizer ? Better 
for the houses in small towns to follow 
the suit of the big cities and omit the 
"funny" reels now and then than to show 
worthless trash. Modern painting, music, 
and writing have all gone jazz. Cannot the 
motion picture industry, which is making 
such marvellous productions now for the 
main features, raise the standard of the 
comedy from its jazz state? — Clarence 
Huffman, Charleston, Illinois. 

Wants Variety — My favorite movie topic 
is New Faces and more of them. The ma- 
jority of movies now-a-days are like the 
old fashioned Stock Companies that we had 
about twenty years ago. Some of the movie 
companies play the same actors in the same 
kind of roles, picture after picture, and one 
becomes bored to death watching these ac- 
tors go through their same mannerisms and 
tricks like mechanical dolls. Lately I saw 
a picture in which the cast was mostly new 
to the screen and I got a positive thrill 
watching them act. I hope Hollywood does 
something about the above nuisance for 
variety still remains the spice of life. — 
T. J. Jones, 127 Hicks Street, Brooklyn, 
New York. 

Plaudits For Mrs. Temple — You probably 
won't print this letter because Hollywood 
couldn't stand it. All these questions about 
[Continued on page 76] 


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Summer Approaches 

[Continued from page 8] 

frequently as you did during the cold winter 

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The lovely ladies are the ladies with 
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Movie Classic for May, 1936 

will find it worth every minute, ior it not 
only has its effect upon the eyes them- 
selves, but upon the whole nervous struc- 

After your face is cleansed and your 
cream removed, adjust little eye packs 
which have been cut from clean strips of 
absorbent cotton, dipped in hot water — 
then saturated with Eye-gene. Close your 
eyes and relax. If you must think — think 
of beauty ! 

Scientists are inclined to believe that 
perfect vision can be obtained only 
through, relaxation — and yet they have 
advanced what seems at first considera- 
tion a contradictory statement. They con- 
tend that the eyes are at rest only when in 
motion. The old story of the elderly wo- 
man who took up fine sewing to improve 
her eyesight is applauded as_ a scientific 
gesture by the modern optician. 

It is now stated that an excellent way 
to secure relaxation is by that old-faith- 
ful exercise called palming. 

Close your eyes and cover them with 
your cupped palm to completely exclude 
all light. Avoid all pressure on your 
eyeballs. Try to "see" a dense field of 
blackness. The closer you come to it, 
the better your sight. Try for five or ten 
minutes at a time, several times a day. 

Another simple and worthwhile exer- 
cise is to cast your eyes obliquely up to 
the right, then down to the left and back 
to center. Reverse, and repeat half a 
dozen times. 

Rolling — a complete circular roll, first 
to the right and then to the left, is an- 
other good exercise for strengthening 
your eye muscles. 

In closing allow me to say that clean- 
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your spring cleaning is an important fac- 
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Heavy rains turned the Radio Pictures 
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to Cool 


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Movie Classic for May, 1936 




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Now You're Talking 

[Continued from page 73] 

Will Rogers and Shirley Temple's popu- 
larity, in plain language, get my goat. Why 
not? To me the reason is logical. Rogers 
was and Shirley is the kind of people God 
meant us to be — simple and unaffected. Mrs. 
Temple deserves credit for some of Shirley's 
popularity, because of the fact that she is a 
child and might lose her appeal if not prop- 
erly guided. The actors and actresses of 
Hollywood spend all their efforts in beau- 
tifying the outside instead of brushing up 
on the inside. That which lasts comes from 
within, not without, and all the clothes, 
the suave and sophisticated airs will never 
take its place in Hollywood or any other 
place.— Mrs. H. L. Wheeler, 248 Sly Ave- 
nue, Corning, N. Y. 

We Welcome Criticism — As a movie fan 
I guess I am about the average. I enjoy my 
fan magazines and am particularly par- 
tial to Movie Classic, so I'd like a chance 
to air my peeves herein. I rather enjoy 
reading about a star's ideas on anything 
from love to politics, enjoy reading their 
theories on fate, their beliefs, and their sup- 
erstitions. But oh, Mr. Editor, I am so 
tired of reading that Mr. Star is "as simple 
in his desires today as he was before he 
came into prominence." He couldn't be 
and, furthermore, why should he be? Clark 
Gable, for an example, bought a Dusen- 
berg, a bit too extravagant a desire for an 
oil fields worker. Then too, there is the 
little matter of patience. If each star is an 
exception to the rule of temperamental 
stars, where is the rule ? Why can't we read 
that "so and so, after a hard day's work, 
begins to fret and stew a bit ?" — Ena Gross- 
man, 2845 East 77th Street, Chicago, III. 

Opera Paves The Way — We who former- 
ly considered grand opera as something 
made for those who live in New York and 
own diamond tiaras have been taught re- 
cently that opera is for us. The movies, al- 
though they have not yet given us a com- 
plete opera, have paved the way to that 
development by letting us hear the superb 
voices of Pons, Swarthout, Tibbett, Eddy, 
Martini, and others in many lovely operatic 
airs. They have shown us something of the 
musical lives of such singers, and taught us 
enough of the jargon of the opera that when 
Aida or La Bohcme or Carmen is finally 
screened, we will approach it as old vet- 
erans of the operatic world. There is another 
art which has thus far been neglected on 
the screen, — the art of painting. When we 
are occasionally shown an artist's studio, 
it is usually a setting for intrigue, not the 
workshop of a creative mind and fingers. 
Couldn't we have some films about artists, 
using their jargon, showing their actual 
canvases instead of faked daubs, and per- 
haps starring some of the Swarthouts and 
Eddys of the world of painting — real paint- 
ers, who could make the art galleries come 
alive for us, as the opera house has already 
done? — Mrs. L. J. Buchan, 723 Exposition 
Boulevard, Neiv Orleans, La. 

A Deserved Tribute — May I offer an ap- 
preciation of the art Basil Rathbone brings 
to the screen? But his clear-cut method 
of presenting the English language to 
us is something which I wish every Eng- 
lish speaking individual would make an at- 
tempt to imitate. A student in a Southern 
city, I advised my classmates to see A Tale 
of Tzvo Cities twice. First for the enjoy- 
[Continued on page 78] 

Movie Classic for May, 1936 


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Set to Music 


Free Examination— Send Poems to 


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1582 West 27th St. Los Angeles, Calif. 

Learn the Hula With Me 

[Continued from page 43] 

easily as I do." 

That's the first of a few basic rules 
Shirley passes on to you from her 
teacher, Jack Donohue : Keep at it. 

So, let's go. Here's Shirley herself, 
telling and showing how to do, first 

(By Shirley Temple) 

Last summer, when Mommy and 
Daddy took me to Hawaii during my 
vacation from the studio, I learned 
how to do a real Hawaiian Hula-Hula 
dance. The natives there gave me a 
present of a hula skirt, made out of 
something that looked like grass, and 
they hung leis around my neck and 
dressed my hair with flowers, when I 
did the dance for them. 

The Hula is the hardest dance to 
describe that I know. Because you 
see, you do not dance it with your 
feet, but with your body and your 
arms. If you remember that, I guess 
it isn't so hard. It is an old, old na- 
tive dance in Hawaii, and Mommy 
tells me it is one of the most graceful 
.dances in all the world, and full of 
deep religious meanings handed down 
from the ancestors of the Hawaiian 
people, and that it tells of the joy of 
living as they knew it in their islands 
long, long ago. 

If you would like to see how I look 
when I dance the Hula-Hula, you can 
see the pictures I had taken to show 
you, and maybe you can try some of 
the movements of the dance. I will 
try to tell you how it goes. 

You can start like I stand in Fig. I. 
Without moving your feet or your 
arms, then, you swing your hips to 
the left, and then to the right (Fig. 
II). You must not do this fast, but 
slow and gracefully. Do this several 
times and then — 

Turn partly to the right, swinging 
your arms over as in Fig. III. Then 
do the same to the left side. Repeat 
this several times, too. Then — 

Turn to the right again (Fig. IV) 
and swing your hips again and again 
to the left, taking a short step in that 
direction each time. Repeat this three 
or four times, and then do the same 
in the reverse direction, the same 
number of times. 

Then step slightly forward with the 
left foot, hold your arms out at the 
side, and sway from side to side (Fig. 
V), after which you can swing your 
arms into the position shown in Fig. 
VI, changing from right to left to 
right to left several times, always 
swaying your body in time with the 

And, at last, when you are about to 
finish, you can drop slowly to your 
knees (Fig. VII) always dancing with 
your body and arms, until at last you 
come to a sitting-kneeling bow as in 
Fig. VIII at the end of the dance. 



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Movie Classic for May, 1936 




Piano, Violin. 

Guitar. Saxophone. 

Drum. Ukulele. 

Tenor Banjo. 

Hawaiian Guitar. 

Piano Accordion, 

Or Any Other 





— yet Bob is the 
envy of his music- 
loving friends 

You, too. can learn to play 
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exercises or practicing. "You 
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Now You're Talking 

[Continued from page 76] 

merit of a wonderful production. Second, 
to receive an English lesson from Mr. 
Rathbone. There is much rivalry among us 
adolescents as to who can do the best imita- 
tions of Stepin Fetchit, Durante, West. 
This, at the most will get us no further 
than a starring spot in our class plays. But 
to form a Basil Rathbone habit will, I 
believe, help us lay a straight road to our 
respective eoals after graduation, no matter 
what form our ambitions may take. Thank 
vou, Mr. Rathbone. We lip-lazy, tongue 
lolling millions, with our quaint dialects 
and unique accents need you. — Erstyne King 
Benton, 416 Ross St., Macon, Ga. 

A Jean Harlow Fan. Objects — In the 

March issue of this magazine there was a 
very interesting article "My Ten Com- 
mandments for Personality" by Cecil B. 
De Mille as told to Helen Harrison. As Mr. 
De Mille is one of the world's greatest star 
makers I believe each commandment is a 
golden rule, especially number two : "Don't 
Change Your Personality" and number 
three : "Don't Try to Be Different." At the 
present time in Hollywood there is a star 
who has overlooked these two important 
commandments. Of course, many movie 
lovers will agree with me that we love Jean 
Harlow because her platinum hair used to 
make her look different from the ordinary 
star. It made her glamorous and divine. 
Of course her latest -picture was good, but 
I believe it could. have been better if Miss 
Harlow had not changed to brownette. 
Some writers believe she is now "going 
places as a dramatic star." But she has 
already gone places as a dramatic star. Did 
she not thrill us and made us use our hand- 
kerchiefs in Her Man with Clark Gable and 
also in Reckless with Franchot Tone? We 
want Jean Harlow as she was in China Seas 
and Reckless and now that she has changed 
we feel as if we have lost our first love. I 
wish Miss Harlow would consider her pub- 
lic's point of view and go back to her own 
personality.— Mrs E. Mains, 1200 West 
Commerce Street, San Antonio, Texas. 


Beautiful five-color 1936 Calendar-Thermometer. Also 
'samples of NR and Turns. Send stamp for packing and 
i postage to A.H. Lewis Co . Desk 7UE-7, St. Louis. Mo. 

Grace Moore, In The King Steps 
Out, plays a princess in disguise 
as a poor milliner's maid. She 
is convinced that her new pic- 
ture will be her best to date 


Enjoy living at the Savoy-Plaza 
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